Professional Photo Issue 208 June 2023

THE UK’S ONLY MONTHLY MAGAZINE FOR WORKING & ASPIRING PROS
ONLY
£4.99
+EXTRA
CONTENT
ON-PAGE
VIDEO
PROFESSIONALPHOTO.ONLINE ISSUE 208 £4.99
PRO LIGHT ROUND-UP CHANGING KIT
LIGHTING SYSTEM
SUPER TEST SWAP!
Our verdict on the Managing
latest launches the move
EXCLUSIVE!
Rankin
The simple secrets behind
a successful portrait shoot
COLOUR MANAGEMENT NEW SERIES STARTS THIS MONTH!

EDITOR’S CHOICE | ISSUE 208
IT’S ALWAYS EXCITING to receive some

Welcome which were the five species that people
first-hand feedback on how a master most wanted to photograph. A means to
photographer goes about their business celebrate those who only shoot animals
and, in the case of Rankin, some red hot with their cameras, it’s also a brilliant
tips on how to coax something extra out way to raise attention about the many
of a portrait sitter from a man who has creatures that are sadly endangered.
photographed everyone from HM The
Queen through to David Bowie has to be On the reviews front we’ve also got a
something that’s worth taking note of. busy issue this month, with a detailed
look at the brand new Canon EOS R8,
We got all of that and lots more from which borrows heavily from its siblings
one of the highest profile photographers the RP and R6 II, while coming in at a
ON THE COVER
working in the UK today, so take a look killer price point for professional gear.
We’ve got a fabulous image
at this month’s Portfolio spot, which ties
from Rankin gracing our
into the huge Rankin show currently Also don’t miss our massive ten-page cover this month, taken from
running at the Ernst Leitz Museum. round-up of some of the best of the his current German show,
recent lighting launches, with some and if you want to see more
I’m also excited to be sharing an brilliant new products being highlighted. of the great photographer’s
portrait work turn to our
outstanding selection of wildlife imagery Another jam-packed issue, so enjoy! Portfolio feature this month,
this month from some of the world’s which begins on page 10.
greatest exponents, and they’re from a
project set up by Graeme Green, which TERRY HOPE
saw him carry out a vote to determine EDITOR
PROJECT PRO GEAR: UPGRADING
Capturing the new Switching Compact and lightweight,

reasonably priced and
PRO GEAR: LIGHTING SPECIAL
borrowing technology
Professional
Big Five Alive the System
from the more advanced
R6 II, the new Canon EOS
R8 ticks a lot of boxes, but
is there enough onboard
to tempt the pro?
Lighting
While the term ‘Big Five’
once described the animals It’s a big ask for a pro photographer to switch camera
hunters most wanted to systems, so why might you consider doing it and TESTED Our dedicated lighting section is focusing
what’s involved? Richard Bradbury dips into personal on some of the latest pro-minded hybrid
Canon EOS R8
kill, Graeme Green now
experience to explain. WORDS RICHARD BRADBURY IMAGES JESS KEATLEY kit, from Aputure, Zhiyun, Nanlite and
plans for it to describe the
top species photographers ACK IN THE summer of 2018 I
Hobolite, plus some exciting battery
are looking to capture.
WORDS TERRY HOPE IMAGES VARIOUS
B had a decision to make. I’d been
working with my regular Canon
kit for quite some time and I was
now ready for a change. Professional gear EGULAR READERS might already
WORDS & IMAGES ANDY KRUCZEK
that familiar, solid, Canon feel. Robust, increases the height of the camera, and
options just announced by Core.
WORDS & IMAGES ADAM DUCKWORTH
T
HERE WAS A TIME not so long ago when the
term ‘Big Five’ was used not to celebrate the
top species to be found in Africa, but to denote
the most prized and dangerous animals that
felt it was time for that term to be truly reclaimed and
re-interpreted, and accordingly he’s now looking to
give it a far more positive spin in the modern age.
‘The term ‘shooting’ is something that photographers
can take quite a beating, mainly because it
tends to be used on a daily basis and, with
my job calling for me to be regularly shooting
location portraits without an assistant, I
R be aware that in my own
photographic practice I mainly
shoot with Fujifilm cameras. I
made the decision to move to a mirrorless
yet comfortable in the hand, with a well-
considered layout and utilising simple,
clearly labelled controls, its relatively
compact size is ideal for the photographer
helps to improve its handling.
The R8 comes with just a single SD
card slot, which supports UHS-II. Since
specific, so you may be able to
the camera keep your
is capable of a very impressive I
F YOU’RE A HYBRID image-maker,
shooting stills as well as video,
then it makes sense to light once
and shoot twice. And for that,
ever are now happy to be working with
higher ISOs and lower shutter speeds.
When choosing LED lights, there’s a
lot to consider. The most popular type in
A
PUTURE IS ONE of the market
leaders in affordable LED lighting,
since the company not only offers
a huge range of reliable lights across a
hunters wanted to bag as trophies, namely elephants, will often use to describe the action of taking pictures,” was looking for an outfit that was portable, system in 2018 and, back then, Canon who’s on the move. There is no external 40fps and 4K 60p video, I’d recommend constant LED lighting is the only way to recent times is the ‘Chip on Board,’ or COB variety of different styles and sizes, but
rhinos, leopards, cape buffalo and lions. With wildlife Graeme says. “I thought it would be cool to use that sturdy, flexible and lightweight. had yet to dive into that particular pond, battery grip, so those with bigger hands getting good quality, V90 high- go. It also provides a handy ‘What You See variety, which uses lots of tiny LED chips is also pushing the boundaries of what
around the globe currently under more pressure than term as a means to turn the previous depressing idea on At that time my camera bag consisted although the move was imminent. might also want to consider adding the and this can getspeed
brands, cards for it. The battery
very expensive! Is What You Get’ advantage, where you bonded closely together to form a smaller, lighting technology is actually capable of.
ever before, professional photographer Graeme Green its head and to come up with a Big Five that instead › of a Canon EOS 5D Mark IV with my older Five years is a long time in photography Canon extension grip EG-E1, employed by the EOS R8 is the can rely on your camera’s screen to give single light-emitting module. And that’s certainly the case with
5D Mark III also packed to serve as back up, and, since that time, Canon has you’re thinking of
made huge following
priced at £84, mywhich
example. same LP-E17 unit that’s found in you a decent representation of what the These are the most powerful LED units the LS 600C Pro which, while carrying
ABOVE: Graeme
Green wanted to while my line-up of L lenses included an brand. I looked extensively
strides withatits
theR Canon
system, adding numerous the EOS RP. This tiny lithium-Ion final shot is likely to look like. out there and, as the actual LED is small, a £2450 price tag, justifies its sizeable
re-define the Big Five EF 16-35mm f/4, EF 24-70mm f/2.8 and bodies along with highly-rated and intelligent
freshlyTTL and
Thefast shutter
diminutive flash
LP-E17 1040 mAh cell delivers around 300 Of course, constant light is the only they behave like a punchy, hard, single- cost by being one of the brightest, full-
as the species that an EF 70-200mm f/2.8. Further options designed R-Series lenses. I havesystems
to admitboth on and off-camera
battery next to an AAare brand- shots, or about an hour of video on way to shoot video. And it used to be flash point light source. This makes them colour, point light sources currently on
photographers most included a couple of older lenses, including a that I was particularly interested to have battery. It’s small! a full charge, which isn’t actually a that ruled supreme for stills in pretty ideal for use with softboxes, fresnels or the market. While the brand was the first
wanted to record.
much loved 35-105mm f/3.5, which was my the chance to test out the latest model to much everything, apart from high-end projector attachments and gobos. Many to offer a 1200 Watt LED, with double the
RIGHT: Mountain favourite lightweight, ‘one camera with one join the EOS R family, the R8, since, prior huge amount. Atfashion
the time orof writing
food extra
shoots, experience
where large and is smooth
also come andindetailed enough
full-colour RGBWW versions. power, this is much bigger, heavier and
gorilla by Mark lens’ travel option at the time, along with a good they were as well, and so decided to buy to my move across to Fujifilm, I had been very expensive HMI lights were for theeveryday
only use. Alternatively,
Personally, I found it to beformfor
the smaller this function. Coming
factor from Fujifilm
more expensive at £3230 and, crucially,
Edward Harris. couple of Canon 580 EX speedlites. their V860 Speedlites rather than the more a long time Canon user. Should I have way to go for constant lighting.very usable, bright and clear.
and softness of a conventional LED light it’s only daylight balanced.
Richard tries out his new Canon EOS R5
Volcanoes National I’d been a loyal Canon user for over 25 complete with RF 70-200mm f/2.8, and it expensive Sony equivalents. remained true to Canon and waited a little kit. Your camera needs to be an extension of camera as a professional
Tungstentool.heads and Kino-Flo tubes panel might be something you need,
Park, Rwanda. IUCN
years, dating right back to my film days, and marks a move back to the Canon system. Later that year Canon launched its first longer before making the leap I wondered? might have been cheaper, but tungstensame, fully articulated, 3in, 1.62
despite most only million dot,
being balanced for
status, Endangered .
during that time I had simply updated my kit full frame 30MP mirrorless camera the ‘R’, Perhaps this was a chance to find out. at a fluid and professional level. EOS RP, the CanongetsEOSredR8 uses
hot, a 0.39
Kinos are easy to break and daylight or daylight and tungsten. fast
In and responsive. The on-screen menu
OPPOSITE PAGE: as and when required. However, electronic something that was primarily relevant to with Nikon unveiling its Z range shortly Launched in February this year, the inch, 2.36 million dot 0.7x
neither aremagnification,
particularly powerful.a delight
They to use.many
The cases,
lack ofLEDs
an AFcan be run off mains
joystick
Image by Graeme viewfinder technology was fast becoming the consumer market and, by so doing, were afterwards, but both of these cameras fell EOS R8, carrying a street price of £1699 OLED viewfinder. can also flicker,
Compared which
to the 0.5 is a nightmare for
inch power or can use internal, rechargeable
Green Akagera, the next big leap forward in the camera failing to grasp just how good electronic some way short of the 42.4MP A7R III in body only, is the eighth full frame R series you something significantly better than 3.69 million dot the
viewfinder of theand
likes of video EOSelectronic
R6 shutters. batteries, or can accept standard clearly
video-laid out and intuitive.
Rwanda.
world although, at that time, they were more viewfinders had become. EV cameras were most reviews. It’s interesting to note that, camera to be launched by Canon, and it These days far more rugged LED style cells such as NP-F or V-Mount.
to be found in cameras aimed at enthusiasts stealing the high ground at that time, so I during this period, Sony became the best- borrows heavily from both the 2019 EOS lighting has taken over, since it can We’ve tested out a selection of the
rather than in full frame pro models. decided I needed a change of gear. selling professional camera brand in the USA RP, with a body design that’s very similar, be bright, runs far cooler and delivers latest LED lighting fixtures to arrive on
Sony was the exception to this rule, with After weighing up all my options I finally after decades of Canon vs Nikon domination, and the higher-end 2022 EOS R6 Mark II, consistent colour. They don’t flicker,
terms the viewfinder the market, all of which are capable
its Alpha range being exclusively EV driven. decided to take the leap and made the so I wasn’t the only one making the change. with which it shares much of its internal and come in daylight, bi-colour or even of delivering a high-end professional
I was waiting for Canon to produce its own switch to Sony, buying an A7R III and the This was five years ago, and I now find technology. This combination of form and full-spectrum RGBWW, and often can performance, and we’re also looking at
products incorporating this technology corresponding ‘holy trinity’ of G Master myself in a similar predicament. With a function comes with the potential to make things can make a big difference. be controlled wirelessly via Wi-Fi or some exceptional new power options use. For anyone looking for an
but, as time went by, both they and Nikon lenses, namely the 24-70mm, 70-200mm shutter-count of over 140,000 actuations, the new R8 an ideal entry point into the Bluetooth. And with cameras offering from battery specialist Core, which will
seemed, in my opinion, to be a little and 16-35mm, all f/2.8 optics. Having tested my A7R III is no longer in its first flush world of full frame mirrorless photography. now offer a free test drive service, which is amazing performance in lower light, and allow you the flexibility to work with your
reluctant to join the movement. I think they out the Godox AD 600 Pro studio/location of youth. I’ve loved the Sony ownership Weighing just 461g with battery and often boasting incredible built-in image lighting if you’re on location and far away
both possibly judged the EV ‘thing’ to be flash units, I was blown away by just how experience, but when trying out a friend’s SD card, the lightweight EOS R8 still has advantage of. Canon’s ‘Try the Kit’ offer, › stabilisation, more professionals than from regular mains sources. ›
16 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 17 44 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE 56 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE 62 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE
Page 16 Page 56 Page 68 Page 74
SUBSCRIPTION AND BACK ISSUES

Email: subs@professionalphoto.online
Online: https://professionalphoto.online/
ADVERTISING magazine-subscription
Professional Photo is published 12 times a year by So Smart
EDITORIAL Sales: Helen Coston Media, West Cottage, Brasted Place, Brasted, Kent TN16
Publisher and Editor: Terry Hope sales@professionalphoto.online NEWS-STAND DISTRIBUTION 1JE. No part of this magazine can be used without prior
terry@professionalphoto.online written permission of So Smart Media Ltd. Professional
Warners Group Distribution, West Street, Photo is a registered trademark of So Smart Media Ltd. The
DESIGN Bourne, Lincolnshire, PE10 9PH. advertisements published in Professional Photo that have been
Contributing Editor: Matty Graham Art Editor: Tania Croft www.warnersgroup.co.uk written, designed or produced by employees of So Smart Media
matty@professionalphoto.online Ltd may not be reproduced without the written consent of the
WEBSITE publisher. The content of this publication does not necessarily
reflect the views of the publisher. While So Smart Media makes
Contributing Editor: Richard Bradbury Webmaster: Dane Pestano PRINTED IN THE UK BY LAVENHAM PRESS every effort to ensure accuracy, it can’t be guaranteed. Street
richard@professionalphoto.online dane@professionalphoto.online www.lavenhampress.com pricing at the time of writing is quoted for products.
PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 3

Enter for Your Chance to
Contents
6 Pro News
Issue 208
Win £250
to Spend at MPB!
Nikon has announced details of its 18

exciting new Z 8 and SAS Auctions has a
stash of vintage 35mm gear to sell!
8 Fit for a King!

Coronation Day was a massive occasion
for the press, and Fixation was on hand
to provide them with essential facilities.
10 Portfolio
Rankin talks about his new show and
we discover his formula for putting his
celebrity portrait subjects at ease.
18 Project - The New Big 5

The New Big 5 describes species people
want to photograph not hunt, and it’s
raising conservation awareness.
26 Behind the News

Showcasing a selection of work from
the 2023 BPPA Press Exhibition.
44 Affinity Workshop
PRO TALK Matty Graham uses Affinity Photo 2 to 56
show how to focus stack the smart way.
34 The Wildman Diaries
In his latest column Andy Rouse 48 Take Control of Colour!
explains why he loves backlighting. Our new series with Datacolor will show
you how to set up and benefit from a
pro-level colour managed workflow.
36
BUSINESS
GEAR
52 Lisa Devlin
Lisa makes a case for blogging, and
56 Switching the System
If you’re a professional it’s a huge deal
explains why it’s such a powerful tool.
switching camera systems, but Richard
54 Finding Your Focus Bradbury helps to simplify the process.
In her new series, Hiya Marianne will be
talking through how to build a business
60 Super Smooth Sales
Richard explains how he used MPB to
perfectly tailored to your strengths.
handle the sale of his full Sony outfit.
63 High Powered Hybrid

TECHNIQUE If you’re looking to move into video
production via the used kit market, the
36 Anatomy of a Shoot Fujifilm X-H2 could be the perfect answer.
– Field of Dreams
Taking on a project with his village
football team, Paul Wilkinson turned to
63
a previous shoot and AI for inspiration.
40 The Move Towards Motion

– Stories in Motion
In the wake of the launch of Sony’s new
high-end vlogging camera, we look at
this vibrant section of the market.
48
4 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

65 Our simple-to-enter MAKING USE OF AI | TALKING HEAD
competition gives you the chance
to splash some cash on used gear!
There’s no way you can

66 Reach for
the Cloud! hide from the reach of AI
A new tie-up
W
between Fujifilm and
E’VE BEEN HEARING use what AI has to offer as just
frame.io could signal a lot about AI in recent another tool in your armoury.
a sea change in the weeks, what with all
world of file uploads. the kerfuffle created by Boris Having said that, Paul also
Eldagsen’s doctored entry to the points out the failings of AI
Sony World Photography Awards, right now, in that it proved itself
and a dawning realisation amongst hopeless at understanding what a
many professional photographers conventional football pitch should
that this technology could indeed actually look like, while he also
pose a serious threat to their flagged up two potentially big
livelihoods down the line. issues in that you can’t copyright
an AI-generated image, nor can
It’s something we’ll certainly you use a MidJourney shot in a
be coming back to on a regular commercial venture unless you’ve
basis, but Paul Wilkinson has signed up to the full package.
68 Tested: the Canon EOS R8 also highlighted the fact in his
The latest R Model announced by Canon
feature this month that there are Seasoned pros like Paul are astute
borrows heavily from the RP and the EOS
ways in which AI can contribute enough to realise that, however
R6 II, and could be a great starter model.
in a positive way, and his use of scary the spectre of AI might be,
MidJourney to create a football it’s still imperative to keep a wary
pitch from scratch demonstrates eye on where this is all going, and
how you could potentially add to to make sure you take advantage
your original concept, and simply of what it can offer - and I know
another photographer who uses AI
to create amazing backdrops for
However scary
76 Professional Lighting
Our massive ten-page round-up reviews
“
the spectre of AI
his shots - while preparing to face
the latest lighting products from up to the challenge if necessary.
Aputure, Zhiyun, Nanlite and Hobolite, might be, it’s still
plus new battery options from Core. imperative to keep a AI is not going away, so we need to
see how best we can work with it.
wary eye on where
this is all going. ” Terry Hope – Editor
❚ Paul Wilkinson turned to AI for inspiration during a recent shoot: Page 36
84 Unveiling a
True Original
We discover the story
behind the innovative
and highly retro new
Hobolite by talking to
its talented designer.
PRO TALK
86 The Last Word
We’re catching up with Berlin-based
photographer Julia Nimke to hear more
about her latest Folk Tales project.

PRONEWS
NEWS | VIEWS | EVENTS | EXHIBITIONS | NEW GEAR | COMPETITIONS
LAUNCH
THE Z 8 JOINS THE NIKON PARTY

THE LATEST MODEL to join Nikon’s a blisteringly fast 120fps. For HDR content
mirrorless Z range is the full frame Z 8, a creators, the camera is capable of recording
camera that’s aimed squarely at hybrid 10-bit HEIF stills and 10-bit HLG video.
operators, with a host of the Z 9’s cutting Despite having a smaller and lighter body,
edge features packed into its lightweight the Z 8 doesn’t sacrifice reliability. The new
body. Billed as a creative successor to the model boasts pro-grade weather sealing,
D850, the Z 8 weighs in at just 910g, with a and the same cold tolerance as Nikon’s
body that’s 30 % smaller than the Z 9 and flagship D6 and Z 9 cameras, ensuring
15% smaller than the D850. This lightweight reliable performance even in extremely low
nature is designed to make the camera easier temperatures. The Z 8 is also the first Nikon
to handhold, while it should also be able to fit mirrorless camera to feature two USB-C
on any rig, including most gimbals. ports, making it possible to transfer files
Boasting 45.7MP stills resolution and 8.3K quickly while charging takes place.
native video resolution, the Z 8 features the Other features on board include deep-
same stacked CMOS sensor and EXPEED 7 learning AF, including precision detection
processor as the Z 9, ensuring and tracking for people, dogs, cats, birds, sharply, even if the scene is strongly backlit.
impressive image quality cars, motorcycles, Thanks to dual-stream technology there’s
straight out of camera. bicycles, trains and also a smooth, blackout-free real live
Video can be recorded in planes. Subject viewfinder, allied to a 4-axis tilting monitor.
an array of frame rates detection and AF Also available as an optional extra is the
and codecs, including work down to -9 EV MB-N12 Power Battery Back, which can
in-camera 12-bit RAW for video and stills, be used as a grip for vertical shooting, or to
for video up to 8.3K/60p while eyes stay in counterbalance telephoto lenses, as well as
or 4.1K/120p. Meanwhile focus even if a subject is for extended all-day shooting.
those shooting stills can moving fast and upside Cost of the new Z 8 body only is set at
work with an array of file down. This means that £3999, and it’s available from now.
sizes and burst speeds, including faces will be rendered ❚ nikon.co.uk
AUCTION
BID ON A VINTAGE BARGAIN!

SPECIAL AUCTION SERVICES, aka SAS, is 1970s and 80s, and even some good early
holding a series of sales of rare photographic digital models, which are currently highly
equipment over the summer, with the next affordable but steadily rising in value. “We
one scheduled for June 13. This will include, also do well with Sinar, Linhof and Cambo 5 x
quite literally, tons of equipment of all kinds, 4in monorail cameras, complete with good
most of it well used or less mainstream Schneider lenses,” he says. “Looking at the
brands, but all likely to be highly affordable Linhof website is guaranteed to make any
and great fun to come along and bid on. serious camera enthusiast drool!”
“My colleague Mike Spencer took in SAS’s Photographica sales are taking
an amazing collection of 35mm cameras place on June 13, August 15 and October
that belonged to a gentleman who bought 10 this year, and the last sale held in April
cameras at Christie’s in the glory days of the lenses in unbelievable quantities. For light offered more than 600 lots and realised
1990s,” says SAS Consultant Hugo Marsh. relief he also bought some fabulous Leica gear over £130,000 in total. Take a trip to the SAS
“This was at a time when an old colleague as well, some of which he kept as outfits.” website to preview lots, and while there it’s
of mine, Michael Pritchard, was running Hugo has noted how collectors attending also possible to register a bid online if you
the department, and the collector honed in the SAS auctions are now looking for can’t get along to the sale in person.
on 1940s to early 1960s Canon bodies and properly-made brass lenses from the ❚ specialauctionservices.com

Fit for a
King!
Coronation Day was a massive
occasion for the press corps
covering the event, and Fixation
was on hand providing facilities
to ensure that everything ran
smoothly behind the scenes.
HINGS HAVE moved on massively the experience of supporting a Coronation Nikon and Sony were on hand from later
T since the last time the country

saw a Coronation back in 1953,
and these days it’s expected that
every moment of such a huge occasion will
before,” remarks Fixation’s marketing
services manager Jonny Helm,” but we did
provide facilities from our Fixation HQ near
Kennington for HM The Queen’s Funeral
on Thursday through to after the balcony
appearance on the Saturday afternoon,
organising equipment loans, cleaning
sensors and essentially providing a place
be covered extensively by photographers last year and such things as William and where those working to document the day
from every angle. But set against this it can Kate and Harry and Meghan’s weddings could come and process their work.
easily be forgotten that it’s still a hugely over the past few years, so we do have some Workshop manager Mick Edwards also
demanding job capturing history in the experience of what’s involved. We just felt got involved working on the XLR cabling
making, and there are a million things that that, on this occasion, it made sense to that was to be installed throughout
can still go wrong, however hi-tech the gear have a location that was conveniently close Westminster Abbey to enable remote
being used might happen to be. to where things were happening, and we cameras to be positioned throughout this
It’s the reason why, even taking into wanted to make sure that the press would key location prior to the Coronation service.
account the quantum leap that’s taken be well catered for on the day.” Overall it was a hugely busy time, and the
place in terms of connectivity over the past Fixation worked closely with Martin tension was ratcheted up a fair few notches
few years, today’s press photographers Keene from the Press Association to by the grim weather happening outside.
still need support and a place to sit down, coordinate everything, and its team of “A lot of the photographers came
download and send on their image files and equipment specialists covering Canon, through the door soaked to the skin,” said
have their gear checked over should there
be any issues. And with sleeting rain coming With the pressure of covering
down for the majority of Coronation Day, a huge international event on
a chance to dry off just for a while and to their shoulders, photographers
appreciated the facilities
take a breather before heading out into the
Fixation was providing.
melee again was also something that was
always going to be appreciated.
With the huge reputation gained over the
years for the unwavering support offered to
the professional, it was perhaps no surprise
to find Fixation providing the press facilities
behind the scenes, and the team went way
over and above the call of duty to ensure
everything ran super smoothly on the day.
Base camp was set up in the Hilton Conrad
St James’ Hotel, which was conveniently
situated in-between Westminster
Abbey and Buckingham Palace, and an
open invitation was extended to press
photographers to drop in and use the
facilities, before and during the big day.
“Obviously none of us at Fixation has had

| ADVERTORIAL
Jonny, “and their gear was videographers can be extremely

likewise in need of a drying out. stressful,” commented Getty
Modern mirrorless cameras Images chief photographer
with their articulated screens Christopher Furlong. “Having
were particularly vulnerable, Fixation there for sensor
since this arrangement creates cleaning and unexpected
more opportunities for moisture last-minute repairs was
to seep in, over a fixed LCD truly appreciated by myself
screen that’s perhaps better and all the Getty Images
sealed. We essentially helped photographers.”
photographers to dry off their Paul Ellis, the chair of The
kit and provided teas and British Press Photographers’
coffees to warm everyone up, Association was also fulsome
and just did whatever we could in his praise. “Members of The
to support everyone.” BPPA took full advantage of the
On the stats front, close to service offered by the Fixation
100 photographers availed team during the coronation of
themselves of the facilities over King Charles III,” he said, “and
the two days, and the Fixation we were delighted that they
team checked out 170 items were so easy to access.
for 49 photographers, which “Popping in for a quick
mostly involved sensor cleaning sensor clean or picking up loan
and loaning out shorter focal equipment was quick and easy,
length lenses where required. out here for the Think Tank ones, which especially as they were located next to one
“Pro support teams from Canon, Nikon worked brilliantly - and on the Saturday of the main press accreditation centres.
and Sony were all with us providing loan we had a good fast Wi-Fi connection ready We’d like to thank everyone who took care
kit,” says Jonny. “The most popular focal to help photographers file as quickly as of our equipment needs over such a busy
length was 600mm, as well as additional possible their full edit from the day.” weekend. Your support was truly valued.”
flagship camera bodies, such as the Canon Against it all was the backdrop of a live It was yet another example of the
EOS R3, the Nikon Z 9 and the Sony Alpha 1. feed showing the day’s memorable events exemplary service Fixation has become
And just in case of problems with kit, Mick as they unfolded on the streets outside so renowned for providing, and it’s a
Edwards was supported by technicians and, overall, it was a momentous occasion, relationship with the professional
Stuart, Pabita and Jay from Fixation to one which the Fixation team will never that just keeps getting stronger.
deliver a much-appreciated repair service. forget. And their efforts were very much
“Our team had memory cards and, more appreciated: “Covering these once-in- More information:
importantly, rain covers – and a big shout a-lifetime events for photographers and ❚ fixationuk.com

PORTFOLIO
Making a
Connection
Few photographers get more out of their subject than Rankin and,
as his big new show opens in Germany, he tells us more about his
process for extracting the very most from a portrait session.
ABOVE: Bird Song, WORDS TERRY HOPE IMAGES RANKIN Wetzlar, Germany, to view his latest show, Zeitsprunge (it
Hunger Issue 11, 2016. translates from the German as ‘Leaps in Time’) will be
A
S ANY GOOD PROFESSIONAL will realise, able to see for themselves this photographer’s unerring
OPPOSITE PAGE:
Blown away with photography is about so much more than ability to produce animated and incisive portraits of a
Cutler and Gross, knowing your way around a camera and wide range of subjects, and he’s been at the top of his
Hunger Issue 28. having top-rate kit to work with. game for some thirty years now. The pictures on display
Particularly when you’re trying to come away with span the last couple of decades or so of his career, and
something worthwhile from a portrait session, there the older work is complemented by a fresh selection of
has to be something almost intangible going on in that brand-new shots, produced especially for this event.
moment, a special connection just for a brief period Remarkably, he was only approached to pull
between the person behind the camera and the one in everything together at the start of this year, which is
front of it. It’s a gift that helps to set a select few apart almost no time at all in exhibition terms, and he made
from their peers, and there’s little doubt that Rankin the call to supplement some of his landmark iconic
possesses that particular ability in spades. shots taken over the years with the pictures that are
Those who get along to the Ernst Leitz Museum in populating the very latest issue of his celebrated ›

PORTFOLIO | RANKIN
RIGHT: Glow, Hunger quarterly culture and fashion magazine, Hunger.

Issue 11, 2016. “It was an interesting exercise to undertake,” he
says. “I wanted to create some new work for the show,
and so I basically shot the entire issue of the magazine
to go with it. To give it even more of a structure, I also
shot everything using my Leica S3. I’ve worked with the
Leica S-System pretty much since it came out really, and
I’m even more fond of it now that you're able to use it in
conjunction with Capture One. I love the way that it’s
delivering medium format quality and yet it’s got the
feel of a conventional DSLR, and I can run around with
it and work handheld unless I’ve got a particular job
on that requires a long exposure. It’s a really intuitive
camera that’s great for every situation really.”
The latest issue of Hunger was published to coincide
with the opening of the show on May 26, and while
the publication is available in its usual format across
all of its regular international markets, those visiting
the show in person will be given the opportunity to
purchase a specially produced hardback edition.
Collating work that goes back 15 years or so has given
Rankin an interesting opportunity to review a sizeable
chunk of his career, and to consider how his style might
have evolved across that period of time. But having now
spent time going through his back catalogue, Rankin
instead has come to the conclusion that his approach a decision very early on to shoot everything against
to photography has essentially remained the same a white background, because I don’t think that’s ever
throughout, and he’s more than relaxed about that. been done before for a single issue of a magazine by one
“I don’t actually think I’ve changed all that much as photographer. I felt that constraint would be interesting,
a photographer since I first started out back in the 90s,” since even though I had the same kind of approach
he says. “Technically perhaps I might have improved throughout I was still trying to work in multiple visual
over time but, from a visual point of view, I've never had styles. So, when you look at it, every single picture is still
just the one aesthetic that I've stick with all the time. I trying to be evocative in a different way.”
develop different aesthetics, and if you go back to my
early days, you’ll find that I’ve always tried to create a Portrait Approach
collaboration between myself and my subject, one that For those visiting the exhibition it’s also an opportunity
will be unique to that particular situation. to appreciate the apparently consummate ease with
BELOW: Flower “That's not to say that I don’t admire photographers which Rankin seems to be able to extract telling images
Power, Hunger that have just the one aesthetic: I do, but it’s just not from even those with the toughest reputations, so is
Issue 28, 2023. what I do. With my latest pictures for Hunger I also made there any particular secret behind his approach that

RANKIN | PORTFOLIO
others could learn from? How, for example, does he

approach a session and, given the high profile of some of
his subjects, does he struggle at times to get around the
restrictions that could be imposed by over-zealous PRs,
determined to protect their client’s image?
“For me, it’s about trying to develop a collaborative
relationship with the person you’re photographing,”
he says. “I don’t want to use pictures that the subject
doesn’t want me to use, so I encourage them to be part of
the editing process, and we’ll decide on which pictures
to use together. And this then helps to establish trust,
which makes them feel freer in front of the camera.
They know that we’re making a piece together, and that
enables them to be more vulnerable and sensitive. They
know I’m not trying to steal their soul.”
On the celebrity front Rankin has photographed
a long line of A-Listers over the years, from HM The
Queen through to The Rolling Stones, David Bowie, Kate
Moss, Miley Cyrus, Rita Ora and Kendall Jenner, and he’s
perfected an approach to such sessions that takes the
pressure away and ensures that he can cut through and
make a connection with even the most reticent of sitters.
“I’ve never really felt the pressure from these kinds of
sessions,” he says. “If someone just wants to give you a
small part of themselves then that’s ok, and if they want
to give you all of themselves then that’s even better.
Someone like Robert Downey Junior, for example, I don’t
remember him ever having someone on set with him
while he was being photographed because he can handle
himself, he didn’t need anyone to protect him. And you’ll
give him everything, and he wants to keep going.
“Other people can be less forthcoming, and it always ABOVE: Vivienne to be a little shy in front of the camera. It’s at time like
surprises me how many famous people can turn out Westwood, POP, 2002. this that it can actually be quite helpful to have a good
PR involved. You might think that their presence could
dilute things, and occasionally it does, but a lot of the
time they will have bought into the idea that we’re
creating something together, and then it can benefit
the session. Someone like publicist Laura Symonds, for
example, who is really good at what she does, will come
to you with ideas and concepts for her clients to add to
the mix, and then it can become really exciting.
“I’m always happy to collaborate in this way, since
it’s much more interesting to have a conversation rather
than to simply impose your ideas on someone. And it
doesn’t mean to say that my perspective won’t be seen,
and I think my way of working is much more in tune
with the way that you have to deal with celebrities these
days. Some people are naturally nervous and feel like
they’re under the microscope, and photography can be
quite revealing and microscopic at times. So I think you
need to be aware of that and take it on board, and also
realise that you’re dealing with human beings, who have
feelings and can be multi-layered.
“One thing I hate is photographers who do the kiss
and tell thing, where they’ll photograph someone and
then talk about how terrible the experience was on
Instagram or something. I don’t understand how you
would break the trust of someone that’s giving you their
LEFT: Ewan McGregor, time and energy, that whole thing doesn’t make any
Arena, 2003. sense at all to me. You need to respect the person in ›

PORTFOLIO | RANKIN
ABOVE FROM LEFT:

Pre -Loved and
Pre-Invented/Long
Live the Queen, Sibyl
Buck/Tears & Tears
with Dior. Hunger
Issue 28, 2023.
LEFT: Lily Nova,

Hunger Issue 28, 2023

RANKIN | PORTFOLIO
ABOVE: Ayami
Nishimura, 2012.
LEFT: Right Way Up,

Wrong Way Down,
Hunger Issue 9, 2015.

PORTFOLIO | RANKIN
front of your camera and treat them humanely, not like RIGHT: RoxXxan,
they’re animals in a zoo. It’s not up to you to judge them. Hunger Issue 28,
2023.
“Someone might, for example, have walked into the
studio and they happen to be in a funny mood because BELOW: Animal
they’ve just had a fight with someone or their cat died Fashion, Another,
that morning or something. And they’re really upset Issue 0, 1994.
and they might just want to go home, but because
they’re a celebrity it’s a bit harder for them, but as the
photographer you won’t have a clue about what’s going
on. I’ve had famous people crying on me, and I’ll be
saying, look, let’s get you finished and out of here as
soon as possible, something is obviously going on.”
Rankin’s golden rule is to take on a portrait session
with zero preconceptions, and inevitably the people
in front of his camera are nothing like the version of
them that might exist in popular folklore. “No matter
what I think I might know about the person I’m
photographing, there’s always something about them
that will surprise me,” Rankin says.
Take the Gallagher brothers, for example: in the
tabloids Liam and Noel are constantly sniping at one
another and there’s a huge amount of latent tension
between them. The reality in Rankin’s studio was
somewhat different, and the genuine warmth in the
picture that resulted is there for all to see.
“It can be a very British thing to gossip, and to put
people up on a pedestal to then just knock them down
again,” says Rankin. “But I’ve found some of those
“It can be a very British thing
to gossip, and to put people
up on a pedestal to then just
knock them down again. But
I’ve found some of those with
the biggest reputations for
being difficult to be the easiest
people of all to work with, and
so many things just get made
up or exaggerated to sell
more newspapers.”
with the biggest reputations for being difficult to be
the easiest people of all to work with, and so many
things just get made up or exaggerated to sell more
newspapers. I’ve photographed Liam and Noel several
times and I’ve never seen any friction between them.
And I genuinely love both of them equally, they’re great.
“I think one of my favourite things about shooting
Liam is that he’s a bit like a panther, or a leopard or
something, you never know, what he’s gonna do, and
that can be really exciting. And both of them have a
really wicked sense of humour, they’re very playful and
have a really funny, typical Manchester way of always
taking the mickey. So my experience with them has
always been really positive, and it’s great for me because
I’m a massive Oasis fan. Together with bands such as
Blur and Pulp they were part of my growing up, and it’s a
dream to have the chance to photograph them.”

RANKIN | PORTFOLIO
LEFT: Oasis, Q
Magazine, 2002.
Trust is at the heart of everything that goes on Germany will travel and finally make it to these
in Rankin's studio, and it’s a key reason why, even if shores, but for those who, between now and the end of
agreements might happen to be in place and it would September, can get along to the Ernst Leitz Museum,
be possible to publish anyway, he always make a point there’s a particular treat in store. It’s a chance to see
of asking for permission from his sitter before using up close not just images from across a large portion
images in a book or exhibition. “It can be surprising how of Rankin’s stellar career but also to encounter some
many will say no,” he says, “and often for some strange of his latest imagery, and to appreciate how this
reasons, and I can’t always believe that this is coming great photographer is continuing to push the
from the person themselves. It could just be at the whim boundaries with his portrait work.
of a publicist or something, but then I understand that,
and I would still rather have the person fully onboard ❚ Rankin: Zeitsprunge (Leaps in Time) runs at the
with the project, as opposed to just doing it.” Ernst Leitz Museum in Wetzlar until September 27,
The hope is that the big show now running in 2023. ernst-leitz-museum.com.

PROJECT
Capturing the new

Big Five Alive
While the term ‘Big Five’
once described the animals
hunters most wanted to
kill, Graeme Green now
plans for it to describe the
top species photographers
are looking to capture.
WORDS TERRY HOPE IMAGES VARIOUS
T
HERE WAS A TIME not so long ago when the felt it was time for that term to be truly reclaimed and
term ‘Big Five’ was used not to celebrate the re-interpreted, and accordingly he’s now looking to
top species to be found in Africa, but to denote give it a far more positive spin in the modern age.
the most prized and dangerous animals that ‘The term ‘shooting’ is something that photographers
hunters wanted to bag as trophies, namely elephants, will often use to describe the action of taking pictures,”
rhinos, leopards, cape buffalo and lions. With wildlife Graeme says. “I thought it would be cool to use that
around the globe currently under more pressure than term as a means to turn the previous depressing idea on
ever before, professional photographer Graeme Green its head and to come up with a Big Five that instead ›
ABOVE: Graeme
Green wanted to
re-define the Big Five
as the species that
photographers most
wanted to record.
RIGHT: Mountain
gorilla by Mark
Edward Harris.
Volcanoes National
Park, Rwanda. IUCN
status, Endangered .
OPPOSITE PAGE:
Image by Graeme
Green Akagera,
Rwanda.

PROJECT | THE NEW BIG FIVE
“Despite the popularity of the ones that came out on top, however, all five species
in the New Big 5 are endangered. And they’re just the tip of the iceberg: around a
million species of animals and plants are currently at risk of extinction.”
ABOVE: Bengal Tiger defined the international species that people around the the best to photograph. “I wanted it to be more than
by Thomas Vijayan. world most enjoyed photographing. just a celebration of photography,” says Graeme. “My
Ranthambhore “With this in mind I started up my ‘New Big intention was to use this original eye-catching concept
National Park, India. Five’ project back in 2019, and I began by contacting to get people interested in urgent wildlife issues, like
Status, Endangered.
photographers and conservationists such as Jane habitat loss, poaching, pollution and climate change.
Goodall, Nick Brandt, Art Wolfe, Ami Vitale and Steve “I also wanted it to be symbolic of how outdated
McCurry, along with selected wildlife charities such as trophy hunting is, and to emphasise how wildlife
Save the Elephants, to ask them if they would consider photography is much more popular and meaningful
supporting the initiative. I also spent several months to people all over the world these days. It’s been a
working on articles, interviews, photo galleries, huge commitment, around two to three years of work,
education packs and a series of podcasts for the project’s including weekends and long nights, and a real challenge
website, where I was talking about wildlife, photography to juggle the demands of the project while still trying to
and conservation with the likes of Brent Stirton, Steve make a living, but it was something I felt I had to do.”
Winter, Farwiza Farhan and Chris Packham.” With huge support from photographers and
The support of so many influential names was conservation groups, plus extensive social media and
important, and it enabled the website to be the press coverage, the vote for the New Big Five was an
launchpad in 2020 for the New Big Five vote, where outstanding global success, and those that came out on
people could visit to get behind the species they felt were top were elephants, polar bears, gorillas, lions and tigers.

THE NEW BIG FIVE | PROJECT
“I wouldn’t say there were any great surprises in there,”

says Graeme, “but there were lots of other animals that
were also popular and could have made it into the list,
such as orangutans, rhinos and snow leopards.
“Despite the popularity of the ones that came out
on top, however, all five species in the New Big 5 are
endangered. And they’re just the tip of the iceberg:
around a million species of animals and plants are
currently at risk of extinction.”
Celebrating the New Big Five

With the list established, the next step in Graeme’s
plan was to work on a book project, The New Big Five,
which features the work of some of the stellar wildlife
photographers that had supported the project – 165 of
them in total - and this sumptuous volume has just been
published by Earth Aware Editions.
Including chapters on each of the species that
came out on top in the poll, the book also contains an
extensive and somewhat sobering section that focuses
on other endangered species, such as rhinos, cheetahs,
giraffes, monkeys, pangolins, snow leopards, bears,
lemurs, frogs, insects, birds, turtles, sharks and whales.
Essentially it’s a call to action, driven by those who are
seeing first hand, through their cameras, the pressures
that wildlife across the globe is currently facing.
“The New Big 5 species stand for all the creatures on
the planet,” says Graeme, “from iconic species through get involved in raising awareness. Many of those whose
to the lesser-known creatures that are likewise in work is featured in the book had previously pledged their
danger. From bees through to blue whales, all wildlife is support, and pretty much everyone who was approached
essential to the balance of nature, to healthy ecosystems was ultimately happy to submit their work.
and to the future of our planet. That was the message “I’ve been asked a few times how I managed to
behind the project and the book really.” persuade such a vast collective of great photographers to
The response to Graeme’s project from his fellow be part of the project and book,” says Graeme. “It starts
wildlife photographers was phenomenal, and with asking. So many photographers love wildlife and
demonstrates the collective will from this community to nature, and want to see it protected – which means ›
TOP RIGHT: Cape

Pangolin by Jen
Guyton. Gorongosa
National Park,
Mozambique. IUCN
status, Vulnerable.
ABOVE RIGHT Cuban

Crocodile by Shane
Gross. Ciénaga de
Zapata National Park,
Cuba. IUCN status,
Critically Endangered.
RIGHT: African lion

by Marcus Westberg.
Tswalu Kalahari
Reserve, South
Africa. IUCN status,
Vulnerable.

RIGHT: African
Elephants by Berndt
Weissenbacher.
Kruger National Park,
South Africa. IUCN
status, Endangered.
BELOW: Lion close-

up by Graeme Green,
who came up with the
inspired concept of
the New Big Five.
BELOW RIGHT:
Cheetah by Nili
Mahendra Gudhka.
Maasai Mara National
Reserve, Kenya.
Status, Vulnerable.
“From bees through to blue whales, all wildlife is essential to the balance
of nature, to healthy ecosystems and to the future of our planet.”

ABOVE: Golden Snub-

nosed Monkey by
Qiang Zhang. Foping
National Nature
Reserve, China.
Status, Endangered.
LEFT: Chimpanzee
by Thomas D
Mangelsen. Gombe
Stream National Park,
Tanzania. IUCN
status, Endangered.

many of them are ultimately going to be happy to be part

of a project working towards that goal. It helps if your
aims are sincere – I wanted to use the project and the
associated book to try to make a difference.
“Clear communication is also important, making
sure people understand what you’re trying to achieve. I
always explained my goal was to use the New Big 5 idea
and great photography to raise awareness about urgent
issues facing creatures from land, sea and sky. People
are ready to support a good idea if you communicate it
clearly, and if they believe in what you’re doing.”
Sourcing the Work

Sometimes a bit of persistence was required, since
photographers could be away on assignments for weeks
or months at a time, so often a number of emails and
follow-ups were required, but invariably the response
was positive, with just a handful of photographers who
were approached either declining or failing to reply.
“I’ve always treated every person with respect
regardless of who they happen to be,” says Graeme, “and
that’s also important, never taking a photographer or
their work for granted. We paid the photographers in
the book for their photos, since I believe photographers
should get paid for their work, though the fees they
received were less than they’d usually be paid for their
images. The main motivating factor seemed to be their
support for the project, rather than money.
“It also helped that the project had received global putting in late nights, downloading and sorting pictures,
attention. It was a positive initiative that ran through and working out the most coherent mix.
the dark days of the pandemic. A lot of photographers It was also important to Graeme that the book’s
contacted me, wanting to get involved, and much of this content was seen to be created by a truly diverse mix of
I put down to the fact that it was simply a good idea.” photographers. “I didn’t want to put out another book
Around 16,000 images eventually had to be edited that perpetuated the idea that wildlife photography
down for the book to come together, which was naturally is exclusively a white, male domain,” he says. “Before
a massive organisational and logistical task, one that launching the project, I spent several months reaching
involved Graeme working across many weekends and out to photographers, wildlife charities, photography
TOP LEFT: Spotted
Torrent Frog by
Lucas Bustamante.
Santa Barbara Park,
Ecuador. Status,
Critically Endangered.
ABOVE LEFT: Florida

Manatees by Gabby
Salazar. Florida,
United States. IUCN
status, Vulnerable.
LEFT: Atlantic Puffin

by Kevin Morgans.
Hermaness National
Nature Reserve, Unst,
Shetland. IUCN
status, Vulnerable.

“Choosing around 60 or 70 images for the endangered

section was very difficult. Sadly, the number of species in
this category could fill entire libraries, not just one book.”
organisations, photo festivals, and scouring through “It was particularly difficult to decide on the photos ABOVE: Polar Bear
Instagram sites to find photographers of different for the endangered species section,” he remarks, “as by Jenny Wong.
backgrounds and races from across Africa and around there were not only many incredible images to choose Baffin Island,
Nunavut, Canada.
the world. I spent many more months doing online from, but so many remarkable species that deserved to
Status, Vulnerable.
research and talking to people to find non-white wildlife be highlighted. Choosing around 60 or 70 images in this
photographers who I could work with. case was very difficult. Sadly, the number of endangered
“I wish I’d been able to go further – I hope to in species around the world could genuinely fill entire
future projects. But I’m glad that the book includes so libraries, not just the one book.
many female photographers and many black, African, “My hope is that the photos and words together can
Asian and Latin American photographers. The images make a difference and be part of the conversation to
in the book represent photographers from more than 30 move towards a wilder, fairer world. We urgently
countries, including Botswana, Kuwait, Mexico, Japan, need to change from the course we’re on.”
Ecuador, India, Kenya, Brazil and China. The book and
project are both far more powerful for the fact that they More information:
draw on the best creative people from around the world.” ❚ newbig5.com
There was also a huge amount of work to do to The New Big 5: A Global Photography Project For
balance the chapters and to make sure there was a really Endangered Wildlife by Graeme Green is published
interesting mix of photography in each one. Graeme’s by Earth Aware Editions, £62, and is available at
aim was to include portraits, animals in their habitat, InsightEditions.com, Bookshop.org and Amazon,
up-close details and aerial photography, and it involved with a foreword by Paula Kahumbu and an
a lot of tough calls until the final images were selected. afterword by Jane Goodall.

BP PA SHO WC A SE
Behind the
Headlines
The British Press Photographers’ Association
was founded to showcase the work that
potentially might never get widely seen, and
its latest show is about to open in Cardiff.
T
HE ESSENCE OF news photography is that it’s at all unless you happen to be a picture editor. It’s the
generally highly topical. An image can grace a single reason why competitions have always been so
front page one day and then the world races on important in this field for the role they can play in
and suddenly there’s a fresh story to be talked highlighting some of the best of the work produced by
about, and the picture that was in everyone’s mind is photojournalists, and why a body such as the British
now fast receding in the memory. Add to that the fact Press Photographers’ Association has such a crucial role
that there is only a limited amount of space on offer to play in terms of celebrating the consummate ›
throughout the press on any particular day, and it’s a
given that the vast percentage of news images produced ABOVE: Police officers form
are never actually going to see the light of day, however a protective line as a team
brilliant they might happen to be. coach arrives ahead of the RIGHT: England's Chloe
It’s the way it always has been and the sheer English Premier League Kelly (C) celebrates after
immediacy of the business is undoubtedly part of the football match between scoring the winning goal
Everton and Manchester during the Women's Euros
allure for the press corps, but it does mean that a huge United at Goodison Park final against Germany at
volume of brilliant work either only gets seen in one in Liverpool, north west Wembley Stadium in London,
newspaper on one day or, potentially, doesn’t get seen England on October 9, 2022. Britain, 31 July 2022.

FEATURE | BPPA SHOWCASE
skills and sheer tenacity at times of its members. has been put on in Wales, and it’s a chance for a fresh
The BPPA was founded in 1984 by a small group of audience to catch up with a rich selection of work that
Fleet Street photographers with the aim of showcasing will revive many memories of the major news stories
the work that they were so passionate about. Over the that have taken place over the past twelve months, while
next few years the Association grew, as they staged also sharing some of the gentler news-related events
a series of hugely influential exhibitions while also that have likewise yielded memorable photographs.
publishing three volumes of ‘Assignments,’ which “The BPPA is delighted to bring Assignments 23 to
consisted of the best of that particular year’s work. Wales for the first time following on from our London
In 2003 the BPPA adopted a mission statement that exhibition,” remarks Chair of the BPPA Paul Ellis.
saw it commit to promoting and inspiring the highest “It’s our aim to take photographs on from their initial
ethical, technical and creative standards from within showing to other parts of the UK, giving them a wider
the profession, while also raising awareness and audience, and we’re delighted to be working with
appreciation of press photography in general. Later that Ffotogallery to bring this incredible representation of
same year an exhibition called ‘Unseen’ was mounted British press photography to Cardiff.”
at a high-profile central London gallery to showcase Curated by five leading industry figures -
a wide variety of the outstanding images that would photojournalist Phil Coburn, UK and Ireland photo
otherwise have never been shared. This was followed up manager for Agence France-Presse Talar Kalajian,
two years later with a book called ‘Five Thousand Days,’ The Telegraph picture editor Matthew Fearn,
which went on to sell over 10,000 copies photojournalist Alan Crowhurst and Hello Magazine
All these years on, and with the world of press creative director Freddie Sloan - this year’s exhibition
photography is now substantially different to what it covers stories from July 2021 through to the spring
was back then, with the numbers of newspaper staff of 2022. It features everything from sports and
photographers reduced to a mere fraction of what it once entertainment through to politics and protest, with
was. While so much these days is being originated by royals, celebrities and global events as seen through the
the likes of freelancers or agencies, the BPPA still has eyes of the association’s photographers.
a hugely important and pivotal role to play in terms of Support for the BPPA’s Assignments 23 came from
promoting excellence in the world of news gathering. Canon and Fixation, and it’s a golden opportunity to
One of its prime ways of spreading the word about view a wide-ranging exhibition of photographs
the continuing high standard of work being produced from the very cutting edge of photojournalism.
is through its annual ‘Assignments’ exhibition and
accompanying catalogue. The 2023 show has just More information:
finished its ten-day run at London’s Bargehouse and it’s Assignments 2023: The BPPA Exhibition Catalogue
now about to open at the Ffotogallery in Cardiff, where is available now, priced at £24.99.
it will run from June 9-22. It’s the first time the show ❚ thebppa.com/shop
LEFT: 12/10/2022.
Horizon Technologies,
a British Tech Start-Up
who developed a
Next-Generation
Surveillance Satellite
from a garage in
Reading, embarks
on first-ever
UK Space Launch
from Cornwall.

BPPA SHOWCASE | FEATURE
ABOVE: 09/09/2022. London

is very sombre as the rain
starts to fall in Piccadilly
Circus following the previous
day's announcement of the
death of Queen Elizabeth II
whilst in residence at Balmoral
Castle in Scotland
RIGHT: 31.08.21. DEFRA vets

aided by the police take Geronimo
the alpaca away at Shepherds
Close Farm near Wooton-
Under-Edge, Gloucestershire.
Geronimo tested positive for
bovine tuberculosis and is due to
be slaughtered on the orders of
the Department of Environment,
Food and Rural Affairs (Defra). ›

ABOVE: 19/07/2022. An aerial view

of Wennington in Essex, where a BELOW: 10/02/2023. Adiyaman, Turkey. devastating earthquakes in south Turkey. The
number of homes were destroyed Search and rescue teams rescue a girl and her magnitude 7.8 and 7.7 earthquakes killed over
by a serious fire during the summer mother (not pictured) who were found alive 50,000 people across Syria and Turkey and
drought and heatwave. after they were trapped for 117 hours inside caused severe damage to infrastructure on the
their home in Adiyaman, Turkey, following the morning of 6 February.

ABOVE: Romanian Orthodox

monk, Father Mikhail, departs after
the mass at the Church in Putna
Monastery, Putna, Romania, March
8, 2022. During the mass, blessings
were also given to Ukrainian
refugees who were fleeing amid
Russia's invasion.
RIGHT: LVIV, UKRAINE - APRIL 28:

Oksana, mother of Oleh Skybyk, 27,
morns the death of her son at his funeral
at Lychakiv Cemetery in Lviv on 28
April 2022 in Lviv, Ukraine. Oleh, who
volunteered to serve in the military at the
start of the war, was killed in an artillery
attack in Popasne region in Eastern
Ukraine on 24 April, leaving behind his
wife and two children (3yrs and 1yrs).
Tens of thousands of Ukrainians and
Russians have died since Russia invaded
Ukraine last February, with an estimated
10,000 Ukrainian soldiers being killed
according to the Ukrainian government. ›

ABOVE: 2022 Beijing

Olympics - Freestyle
Skiing - Women's
Aerials - Training
- Genting Snow
Park, Zhangjiakou,
China - February 13,
2022. Anastasiya
Andryianava of
Belarus in action
during training.
LEFT: Matt Walls of

England crashes into
the crowd during the
Men’s Scratch Race
Qualifying Round
during the 2022
Commonwealth
Games Track Cycling,
held at Lee Valley
Velopark, London,
United Kingdom on
31/07/22.

LEFT: Tokyo 2020 ABOVE: 30/07/2022. BELOW: USA's coach

Paralympic Games Scotland's Eilidh Andrea Fuentes (R) swims
- Wheelchair Fencing - Gorrell in action on the to recover USA's Anita
Women's Foil Individual balance beam during the Alvarez (L), from the
- Category B Gold Medal Women's Team Final and bottom of the pool during
Bout - Makuhari Messe Individual Qualification an incident in the women's
Hall B, Chiba, Japan - - Subdivision 3, Artistic solo free artistic swimming
August 28, 2021. Beatrice Gymnastics at Arena finals, during the Budapest
Maria Vio of Italy reacts Birmingham during the 2022 World Aquatics
after winning against Commonwealth Games Championships at the Alfred
Jingjing Zhou of China in Birmingham. Hajos Swimming Complex in
Budapest on June 22, 2022.

The
Wildman
Diaries
The quality of the light you’re working with can have a huge
impact on the wildlife image you achieve, and Andy explains why
he’s so in love with the look and feel of backlighting.
LOATING CONDOMS and other the commercial world, since backlight in
F unmentionables are hardly the

perfect compositional aid. I’d
watch on a daily basis as they
would either float by or wash up on the
the wild is not something that it's possible
to fake or create in Photoshop.
Shooting backlit is cool, but a lot of
photographers can be scared of it. On my
shore close to where I was sitting. I was workshops and tours I go to a lot of trouble
working in a small pool just off of a large to teach people how to do it properly, and
river in a very urban environment, and there are a few rules to follow. For a start,
the current brought with it all the things I you should never shoot looking directly
mentioned above and more. towards the sun, rather the best results will
It always amazes me how wildlife be achieved if you position yourself so your
adapts to urban environments like this, viewpoint is maybe ten degrees to the side.
but adapt it does. And in this rubbish- I also make a point of only shooting
strewn pool it was thriving. Groups of within ten minutes of sunrise/sunset
Tufted Ducks went about their business, for most situations, and you have to
two swans made a nest in an old tyre remember that you might well need to add
and the shrill peep peep peeeeeep of a some exposure compensation to adjust
kingfisher regularly cut above the noise of for the intensity of the light. Shoot a few
the passing trains. It was a wildlife hotspot test shots just to make sure everything is
alright, and I was there to witness one of looking just as it should be. Finally, your AF
the best courtship rituals the natural world should still work fine in a backlit situation,
has to offer; no, not Rouse disco dancing in but you'll need to select a wide group of
a leather biker outfit, I mean the amazing focus points rather than just a single one,
courtship ritual of the great crested grebe. to make sure that it can cope with this kind
Every spring pairs of grebes go through scare wildlife subjects witless, but in this of high-contrast situation.
a series of elaborate dances before case the grebes were used to it and just It’s a conscious decision to shoot into
mating. It’s mesmerising to watch and carried on with their business. the light. I make it by default, always
something I never tire of photographing. I’m addicted to a few things in life; choosing to place hides or to stalk wildlife
This site was special for several reasons; rollercoasters for one and chocolate for with the sun in my face. Of course, from
the first was that it had several pairs another. When I’m behind a camera, light a fieldcraft perspective, it’s tough, as the
of grebes close by where I was laying, is my addiction. In my view light governs keen eyes of your subjects can detect
so there was an element of Strictly everything we do as photographers. every movement you make, but that’s my
competition involved. The second was the For me it’s the defining element of my problem to solve. For me it’s the light and
unique light that I was being presented pictures, it’s the way I show passion and what it does for my images that’s the most
with most mornings when I visited. atmosphere, and share unique moments important consideration.
The pool was surrounded by a bunch in nature as I see them.
of glass fronted offices, which acted as As a professional photographer I Grebe Expectations
natural reflectors. After the initial sunrise, bend and warp light to make my pictures So back to the Grebes. It was natural for me
where the backlight conditions were stand out from the masses that clients to shoot into the light and, once I saw the
astounding, I was then treated to front see every day. I’m proudly still a selling amazing light conditions in this location,
and backlight together at the same time. I wildlife photographer and a good part of I was hooked. Every bright morning for
have never in all my 58 years experienced my income continues to come from stock a month I would be there with my mate
quite such perfect lighting conditions. photography. My passion for using light Chris, and we would settle in on the edge
Usually any attempt to reflect light would to create mood has helped me fare well in of the water in our finest camouflage gear,

ANDY ROUSE | PRO TALK
and wait for the light to work its magic.

It would start with a golden glow on
the water, casting a romantic hue over
everything and giving a gently defined
glowing edge to the grebes. I used this
time for more gentle images of the initial
grebe courtship, when they would come
together head-to-head. The backlight
just enhanced the scene, and added
something unique to the scene.
Then the light would change and I
would get harsh backlight with very well-
defined outlines, plus a reflection from
the buildings to bring out some detail on
the front of the grebes. It was a magic
30 minutes every morning although,
unfortunately, the grebes didn’t realise it,
and some mornings nothing happened
within range of my lens. However, when
it did, I knew I had always captured instead I used a lone swimming grebe crime against photography; yes there are
something special and that’s a great composed at the top of the frame. It’s one times when direct light portraits will work
feeling. When I know a picture is good it of my favourite backlit images of all time. well, but nothing can add the drama and
really helps my creativity. So, what’s the moral here? Firstly, you atmosphere that backlight can. Be bold, be
One morning I remember it was can find great wildlife wherever you live. creative and take a risk, as you might
particularly special. The sidelight cast an Secondly don’t be afraid of backlight. I just like what you come away with!
amazing bokeh across the point, turning see so many photographers these days
all the detritus into magical dancing timid about shooting into the light, More information:
patches of light. Unfortunately, there favouring the more common ‘light over ❚ facebook.com/wildmanrouse
were no dancing grebes to pick it up, so the shoulder’ approach. In my view this is a ❚ youtube.com/@wildmanrouse

THE ANATOMY OF A SHOOT
Field of
Dreams
Faced with the challenge of
photographing his local village
football team, Paul dipped into
a previous shoot for inspiration,
and turned to AI to create a super
stadium for his background.
WORDS & IMAGES PAUL WILKINSON
HERE’S AN OLD adage in the photo Netflix series poster, the EA Sports Football
T industry, and it’s one I totally

subscribe to: never work for free. And
that’s absolutely right, with one
small but crucial amendment, which is that
game (don’t judge me - I have a son who
spent many, many hours hogging our
lounge TV) and an old image that I’d created
for the stage production of Graham of
PRO TIP
IF YOU BUILD a composite
image, it’s more helpful
than you can imagine to
you should never work for nothing. Thrones back in the day. Inspiration can have a reference shot
But sometimes, a job comes along come in many forms: occasionally, your with the heights of each
where the reward is in doing something to own imagery can be the source of a fresh subject clearly visible.
support a great cause, while at the same idea! The Graham of Thrones image (below)
time creating some compelling images might have had a very different purpose,
along the way. There might be no financial but something about its mood and the way
transaction, but it certainly isn’t for nothing. we created it appealed to me for this shoot. ›
Leigh, the founder of FC Sporting Aid,
emailed us out of the blue to ask if we could
help him with his new venture: a local charity
football team. And I do mean local, with the
team being based in our small village. They
needed some images of the players and their
new kit they could use for publicity, and they
wondered if we could help.
One of the nicest things about working
with someone like Leigh is that he was
chilled about what he wanted the pictures
to be. He was simply looking for this new
venture to be presented in as good a light
[pun intended] as possible, so we had an
agreeably blank canvas to work with.
Cut to me searching through Google as
I hunted around for ideas. If I’m honest, I
probably didn’t need to bother: the minute
I had the brief, I knew I wanted to create
something that was a cross between a

TECHNIQUE | ANATOMY OF A SHOOT MIDJOURNEY AI
FOR THOSE WHO are curious, this is
the Midjourney prompt I used:
SETTING UP THE SHOOT /imagine empty soccer stadium,
light night sky just after sunset with
ON THE DAY of the shoot I had no idea
clouds, halfrear lighting, green grass,
who would be arriving, what the football soccer goal, hyperrealistic, cinematic
kits would look like or how the shots lighting, balanced composition, 8k,
would ultimately turn out. But, as usual, detailed --ar 3:4 --v 5
I needn’t have worried: lovely people The jury is very much out on AI,
turned up, the kits were fantastic and I but there are some things to bear
couldn’t help but be inspired. in mind. Firstly, according to the
From the outset, I knew I would likely U.S. Copyright Office, you cannot
copyright images generated by
want to create a composite for the
keywords, meaning that anyone
brand images, since this is an adaptable
else can also use your work! Also,
approach that would allow me to control if you use Midjourney images
the final result precisely. That’s not to say commercially, you must pay for the
I didn’t capture at least a few images of licenced version. You do read the
Leigh with all three players in one single terms and conditions, right?
frame. This is a helpful shot in its own
right, as it gives me accurate references of airbrushed illustrations most of the
for the height of each player should I need time - even if you add the keyword ‘hyper
to refer back to it, while also creating a realistic’ – but, given this was precisely
very usable picture in its own right. the look I was going for on this occasion, I
Throughout the session, I created figured it had the potential to work.
numerous images for the team, both So I typed a few keywords in to see
in mood and crop, and I retained a what would happen. Well, it turns out that
consistent lighting pattern and camera AI doesn’t have much concept of what
position for each, so that the final effect a football stadium looks like. I came up
would look believable when everything with some dramatic images for sure, but
was brought together in the finished some with circular pitches that looked
shot. If there’s one thing I particularly more like a running track, others with
hate when I see a composite image it’s random line markings, and a few that
when the various subjects are lit and shot featured incredible space-age lighting
differently. No amount of Photoshop at the rear, providing a rim light around that no stadium would ever be able to
work is going to save you if the look isn’t each player in the frame to help bring afford, particularly in these energy-
consistent across all of your component everything together in the final image. crunch times. I was also presented with
elements. So, if we’re going to comp, let’s The lighting had to be generic enough numerous versions where there were no
at least make the necessary effort! to allow me to switch things around, but less than four sets of goal posts featured,
The lighting for the images was sufficiently realistic that each player looks one situated on each side of the pitch!
simple, namely a large softbox at the like they could be in a football stadium. So, while being somewhat intrigued
front, close in to create a beautiful And where was I going to get this football by the thought of a football match that
illumination on the face and a gentle fall- stadium from? Step forward AI, in the form consisted of four teams and four goals -
off down the length of each subject, and of MidJourney. Now, I’m more than acutely come on, FIFA, that has to be an idea! - it
I love the sense of theatre this lighting aware that AI is both an opportunity and quickly became apparent to me that I
style brings. I also added two strip lights a threat to creatives the world over, and couldn’t just use any old image.
with Adobe introducing its Firefly image In the end, however, it didn’t matter
generation tools to its Creative Cloud suite, too much for this project, since nearly
well, it can be loved or hated, but it certainly all of the ground level of the stadium
can’t be ignored. As this was a not-for- would be obscured by the players, and
finance job, I thought it would be fun to play the straight-out-of-a-Marvel-Comic
around a little to see what we could achieve. lighting wouldn’t look too out of place,
For this project, I wanted a wide-angle although maybe it’s not the kind of thing
shot of a football stadium on a misty you’re going to see on a regular basis on a
night, with floodlights glaring and a sky village community sports pitch.
containing some texture. Not too much After many iterations, a lot of
to ask surely? Well, let me tell you, it’s not blind alleys and numerous versions of
quite as easy as it might sound! fantastical soccer stadia, I picked out
I opted to use MidJourney because, an image that would serve the purpose
on the whole, the images this particular - one where the lighting was pretty
platform generates are not especially close to the idea I had in my head when I
realistic to my eyes. They have the feel photographed the players.

ANATOMY OF A SHOOT | TECHNIQUE
POST-PRODUCTION
OK, SO I HAD numerous shots of three
football team members and their
founding manager, so now it was time to
layer them up to create a single image.
The hardest part with any concept
such as this is picking out the individual
shots you need to tell your story. In
this instance, I loved the image of the
goalkeeper holding the ball towards
the camera as a welcome change to the
typical ‘arms folded’ portraits. Ultimately
there’s no right or wrong answer to the
selection, it’s just a case of finding the
right balance and mood, always trying to
make it look as though the players were
standing together in one single frame.
Masking out each player starts with
Photoshop’s ‘Select Subject’ function,
and the AI behind this (yup, another
instance of AI) does a reasonable job of
isolating the player from the background.
I had deliberately chosen grey paper as
the backdrop, as any cut-outs would look
more realistic when placing the player
against a grey sky. You can, of course, use
a blue or green chromakey, but the colour
contamination around the edges of the
cut-out can end up giving you more work.
Once each mask was created, I
fine-tuned it, ensuring the hair was
convincing. The beauty of using masks
is that you can always keep going if you
happen to spot anything that’s not quite
right, painting in white to add more of the
subject, or black to mask it out.
Once the three players were placed
onto the background, I added shadows When I looked at the image at this stage, little, using DXO’s Nik Color Efex Pro 4.
to each of them with a pixel layer set to I felt the background image needed to be I know it sounds like a whole lot of
‘Multiply’ mode, that was ‘clipped’ to the a little more blue/green, so I added a Color steps, but it isn’t really that complicated.
underlying layer. This allows you to paint Balance layer to nudge the mid-tones. You just need to do some careful masking
with a dark brush, darkening just the To finish it up, I added a gentle vignette and subject placement, and be in control
areas of each player that would naturally using an Exposure layer, a few extra light of your shadows and colour adjustment.
receive less light had they genuinely been flares (I photographed some speedlights in Finally, you have to take care everything
standing together. Without this, the a dark studio to help me create these) and looks as it should do, when seen against
composite wouldn’t be convincing. then I tweaked the colours in the scene a an AI-generated background.
MEET THE PRO

PAUL WILKINSON FMPA FBIPP FSWPP is a multi- studios, Paul and his team offer workshops and
award-winning international photographer, with professional consulting services to photographers.
a boutique studio midway between Oxford and Details at paulwilkinsonphotography.co.uk.
London. He’s co-author of the best-selling book
Mastering Portrait Photography, and the host of the ❚ Mastering Portrait Photography
celebrated Mastering Portrait Photography podcast , by Paul Wilkinson and Sarah Plater is
a candid look at the art, craft and business of portrait published by Ammonite Press, priced
photography that can be found on all good podcast £19.99. Buy from thegmcgroup.
apps. As well as running one of the UK’s top portrait com and all good bookshops.

THE MOVE TOWARDS MOTION
IN ASSOCIATION WITH
Stories in
Motion Vlogging offers a highly engaging
means of sharing stories, and it’s
simple to get involved, with kit highly
affordable and freely available and a
ready audience waiting to be reached.
EW CAN HAVE FAILED TO up at the entry level, but there is a front of camera, and they need
F notice how online content is

so much more about moving
imagery these days, with videos
proliferating and a generation growing
definite level of technical skill
required to put together a
successful production, and
pro photographers are well
to be engaging and able to talk
fluidly about whatever subject
they’re covering, and this is simply
something that not everyone is
up that is far more likely to engage with a placed to get involved. capable of carrying off.
video than to read through a written story. To be successful even at a The beauty of vlogging is
There are countless studies that attest to basic level there is a certain that it can exist at so many
the power of motion, and a new breed of expectation of quality, so levels, while the accessories
content creator has emerged, who can such things as stability, framing you need to improve the
tap into this trend and supply lively and and audio are all going to be quality of your output are
relevant short-form productions that will considerations, and if any of these usually highly affordable and
have plenty of appeal to commercial clients. isn’t managed well then what easily sourced through the
Say hello then to the vlog, the updated you’re outputting could likes of retailers such as CVP. In
version of the time-honoured blog and well be unwatchable. its simplest form the vlog can
sibling of the audio-only podcast, which On top of this there is also be created using a good
many photographers have traditionally the definite requirement quality smartphone,
used to attract attention to their website for personality, which is and many of those
and to boost their Google rankings. Highly something it’s difficult entering this area
The Sennheiser MKE 200
democratised, this is an area that anyone to acquire if you’re not Mobile kit is designed will choose to work
can enter since the barriers are low and a natural. Vloggers for smartphones, and in that way. However,
it’s simple and inexpensive to set yourself inevitably appear in includes a mini tripod. you would still need

Sony ZV-E1 camera
is a fully featured full
frame model, but
is aimed squarely
at those involved in
high-end vlogging
productions.
accessories, such as a gimbal and a separate that will suit pretty much any filmmaking CHOOSING YOUR GEAR
microphone, to achieve acceptable eventuality, with vlogging being just As mentioned already, today’s fully
results, and you should also have a decent another area that’s fully catered for. featured smartphones are designed to
understanding of editing to piece your The great news is that, because this deliver a sensational level of video quality,
footage together into a coherent and whole area has taken off so spectacularly which would be well up to the web use
watchable whole at the end of the day. in recent years, the industry has responded that most vlogs are designed for. They’re
“Online content creation has never in great style with some amazing products, affordable, obviously multi-faceted and
been more popular than it is today,” agrees and these will be finely tuned to do exactly really straightforward to use, with sharing
CVP’s Technical Marketing Manager Jake the niche job that’s required. facilities naturally built in, and models such
Ratcliffe, “especially since around 2020, as the Sony Xperia Pro1, the Oppo Find X5
since when it’s taken off big time. It’s never Pro with its Hasselblad connections and
been easier to self-produce videos and the iPhone 14 Pro Max are right up there in
to post them online, so the demand and terms of what they have to offer.
interest in this whole area has also gone Pair devices such as this with the right
up, and this will continue to rise.” accessories and you have a formidable
While a retailer such as CVP might be vlogging set-up, and manufacturers have
better known for the support it provides responded by delivering accessories that
to the likes of high-end cinematographers, come tailor made for pairing with a
it’s just as interested in those entering the smartphone. The Sennheiser MKE 200
world of motion at a lower level, and Jake Joby Wavo Mobile Mobile Kit, for example, (CVP price
is keen to stress that there will always On-Camera Microphone £87), is specifically aimed at vloggers,
be experts on hand to suggest kit and includes a directional on-camera ›

TECHNIQUE | THE MOVE TOWARDS MOTION
microphone and smartphone clamp, along

with a Manfrotto PIXI Mini Tripod, making
this a keenly priced piece of kit that will
lift audio quality at a stroke. The MKE 200
even comes with a built-in windscreen and
shock mount to help reduce handling noise.
Slightly further up the quality scale,
though somewhat larger and therefore
perhaps a little bulkier to carry around, is
the Sennheiser MKE 400 Mobile Kit (CVP
price £199), which is still highly affordable,
while for those seriously on a tight budget
there’s the Joby Wavo Mobile On-Camera
microphone to consider (CVP price £38.38),
which is ultra-lightweight and really easy
to use. You simply connect the supplied
TRRS cable to your smartphone and you’re
connected and ready to go, and audio
quality is instantly improved.
“ If you can’t stretch to the Alpha ZV-E1 then Sony
Another option those starting out offers a keener priced option in the form of the
might consider is the Saramonic SmartMic
MTV Vlogging Kit (CVP price £153.53), TIPA Award winning ZV-E10, which still comes
which comes with a stereo microphone with a useful vari-angle screen, 4K video quality
and an adjustable height table top tripod,
complete with a lockable ball head that will
and Full HD 120p slow motion, along with an
give you stable shots at any angle. included directional microphone so that you can
Likewise, there are some excellent and
highly affordable dedicated stabilisers
record your voice while filming. ”
available, which will make a huge difference in 4K, unique
Zhiyun's Smooth 5S Smartphone
to the quality of the footage you can Gimbal comes in at under £165 and cinematic vlog
achieve with your smartphone. The Zhiyun offers three-axis stabilisation. settings and
Smooth 5S Smartphone Gimbal, (CVP price professional
£164.99), for example, offers three- picture profile
axis stabilisation, while the magnetic Saramonic's Smartmic S-Cinetone.
MTV Vlogging kit is a
steel motors employed enable the Built to resemble the
keenly priced outfit that
growing number of smartphones with features a stereo mic. Sony Venice’s celebrated cinema
larger LCD sizes to be employed. Just look, this can optimise skin tones
for good measure this smart little and provide a film-like colour to
unit also comes with a powerful through to others, your videos. You can check out
built-in 300 lumens fill-in light, such as the latest CVP's in-depth video review of the
which could prove invaluable for Sony Alpha Alpha ZV-E1 by scanning through the QR
lifting the shadows on a face. ZV-E1 mirrorless Code you can find on the opposite page.
So far we’ve checked out entry level vlog camera (CVP
solutions, which will work really well for price £2349 body VLOGGING READY
those who are particularly looking at only), which comes with full If you can’t stretch to the Alpha ZV-E1 then
mobile filmmaking, which definitely has a frame functionality, and is Sony offers a keener priced option in the
place in the vlogging chain. However, for a highly capable filmmaking form of the TIPA Award winning ZV-E10
many professionals the aim is to create camera in its own right. It comes (CVP price body-only £686.81), which still
productions that have a higher quality with features on board such as comes with a useful vari-angle screen,
level altogether, and if you’re working for a the new AI shooting modes, 4K video quality and Full HD 120p slow
commercial client this could potentially be solid autofocus and a unique motion, along with an included directional
a requirement in any case. microphone set-up, that are microphone so that you can record your
“Using a camera as opposed to a clearly aimed at those looking to voice while filming. Other options would
smartphone is always going to give you create content while working as include the Sony ZV1 (CVP price £667), also
better quality and a lot more filmmaking a single person operator.” a camera aimed squarely at vloggers, though
options,” says Jake. “If you take this step This remarkable new Sony with a built-in Zeiss 24-70mm lens, and the
then you have a whole range of choices, model offers a 4K 60p Panasonic Lumix G100 (CVP price £604.99,
from cameras that are designed recording capability, body only). Along with an interchangeable
specifically to tailor for the along with a direct to lens facility, this vlogger-friendly model
requirements of vloggers streaming solution offers 4K or Full HD video in a variety of

IN ASSOCIATION WITH THE MOVE TOWARDS MOTION | TECHNIQUE
The TIPA Award-

winning Sony ZV-E10
costs under £700
body only and can
still output 4K video
footage and Full HD
120p slow motion.
frame rates, and at its heart it has a highly- just half the size of the original RS3, it still good quality top mic for example, such as the
capable 20.3MP sensor without a low pass has the potential to offer a powerful payload RODE VideoMic Pro + (CVP price £352.30),
filter to enable image quality that’s vastly capacity. Also worth checking out on the or maybe a wireless audio solution for more
superior to that produced by a smartphone. stability front are models offered by Zhiyun, flexibility, and it could also be beneficial to be
You still need to be considering stability, including the WeeBill 3 (CVP price £298.99) working with an external recorder and then
and for smaller cameras a gimbal will be and Crane M2S (CVP price £199.99). synching the audio at the editing stage.
the best and most versatile option. There “The features you need to look out for “The right solution will vary from person
are several to choose from these days, when choosing a camera for vlogging are to person depending on what you’re looking
as this handy accessory becomes ever the ones that make it easier for you to film to get out of vlogging, and our care team is
simpler to set up and inexpensive to buy. yourself,” says Jake. “Alongside this you always happy to offer some tailored advice
Something like the DJI RS3 Mini (CVP price also need to be looking for an effective to ensure you end up with exactly the
£339) would be an excellent choice, being audio solution and a good support system, right kit for your requirements.”
small and lightweight and coming with the and what you should go for will vary from
reassurance of the Ronin name. Although camera to camera. You might consider a ❚ cvp.com
Watch the film below to see CVP’s

VIDEO full review of the Sony ZV-E1
JAKE RATCLIFFE
ONE OF CVP’s resident team of
technical experts, and a self-
confessed camera nerd who
gets way too excited over kit,
Jake’s background mirrors that
of so many creatives these days.
After graduating with a degree in photography, he
took up a freelance career and found that many
of his clients were asking for video services so,
rather than turn the work away, he started to teach
himself the filmmaking basics. Having been based
at CVP for five years now, Jake epitomises the
‘equipment agnostic’ approach of the company
and devotes his time to advising customers who
might be looking for impartial feedback on which
products to invest in as they look to make the
same journey into motion.

Focus
Stack
the
Smart
Way
IN ASSOCIATION WITH AFFINITY PHOTO | SOFTWARE
THE
AFFINITY
PHOTO
TUTORIAL
If you’re working close

in and want to achieve
the maximum in terms
of depth of field in your
macro imagery then it’s
time to look at merging
multiple frames in
Affinity Photo 2. STEP ONE
WORDS & IMAGES MATTY GRAHAM
CREATE A SPECIFIC FOLDER
HEN IT COMES to producing Getting the workflow right will make this technique far simpler, so before you start
W high quality macro imagery,

the big issue inevitably
facing the pro is always
going to be how to achieve enough depth
the actual editing process in Affinity Photo 2, the first task will be to create a folder
and to place the images you intend to merge together in one single place where they
can easily be found. This will make them not only easier to locate, but it will also
ensure you don’t include any rogue images in your Focus Merge, since this can cause
of field within the frame. At times, it problems and create unwanted results. Name the folder something specific like
might appear to be an impossible task ‘Flower Focus Merge,’ so that it’s going to be easy to find on the desktop.
if you’re sticking with conventional in-
camera technique, because you’ll have
an incredibly narrow zone of focus to STEP TWO
play with, and the closer you get to your
subject the greater the problem is going SELECT YOUR IMAGES
to become. Now, with Affinity Photo 2 open, make sure you’re in the Photo Persona setting and,
The solution of course is to utilise your if not, click this option on the top left of the interface. We’re now going to select the
camera’s Focus Stacking feature, which images we want to merge together, and to do this you need to head up to the top of
will shoot multiple frames, varying the the interface and select File, before scrolling down to New Focus Merge. When the
point of focus throughout the process Dialogue box appears, click on Add, and select the files you wish to merge from your
to cover the image area. However, special folder, before hitting Open. The images will be lined up in the New Focus Merge
successfully completing the taking stage box, and you now need to simply hit OK to set the merging process in motion.
is only half the job; what should you do
next with the assortment of images
you’ve now captured?
This is where Affinity Photo 2 comes
in, and this clever software boasts a Focus
Merge feature that makes completing
your Focus Stack files veritable child’s play.
What’s more, the features available in this
fully-featured software package offer you
a high degree of precision, enabling you
to take control and to manually fine-tune
the final frame, using the sharp elements
from the multiple photo stack to build up
the perfect final image.
In the professional world time equates
to money, and no-one wants to be sitting
around for ages having to perfect their
work. The good news here is that this
whole process can be carried out in under
five minutes. ›

SOFTWARE | IN ASSOCIATION WITH AFFINITY PHOTO
STEP THREE
EXAMINE YOUR
FOCUS STACK
Affinity Photo 2 will now
work its magic and merge the
files together into one final
frame. This, however, might
not yet be the perfect result
you’re looking for, so it’s
worth examining the Sources
dialogue box which will have
been created. This works like
an additional Layers Panel,
and you can turn each frame
in the stack off and on using
the eye icon at the bottom
left of the Sources panel.
STEP FOUR
CLONE FROM THE FOCUS STACK
The Focus Merge layer is essentially the
finished product, but there may still
be areas in this frame where all is not
quite right. You’ll be able to see all the Clone
Brush
files listed in the Sources panel and, Tool (S)
if you see an area that needs fixing,
select the Clone tool from the Tool bar (keyboard
shortcut K). Then head to the Sources panel and
click on the Toggle Source Preview icon, select a file
where the area is sharp and then click back on the
Toggle preview. Now brush over it with the Clone
tool, changing the size of the brush using the square
bracket keys if necessary. This will then replace
unsharp areas on the Focus Merged Image Layer at
the top of the sources panel with newly sharp areas.
STEP FIVE STEP SIX

ADD AN ADJUSTMENT LAYER EXPORT THE FILE
With the focus sorted, you can then You can return to your Focus
make additional improvements to the Merge at any time to further fine-
image by adding an Adjustment Layer. tune it by clicking back on the
To do this, head over to the main Layers bottom Layer in the Layers panel,
Panel at the right side of the interface. and the Sources panel will appear
Click on the Adjustments icon – which every time you click on this Layer.
is identified by a half black/half white When you’re ready, you can export
icon – and when the drop-down the file by selecting the File menu
menu appears you can select from the option at the top of the interface
options, and pick from adjustments and then scrolling down to
such as HSL or Brightness/Contrast. Export. A dialogue box will appear
When the dialogue box appears, you enabling you to save the image
can make any edits you require and in a choice of file formats, so pick
they will then affect the whole of your from PSD, JPEG or TIFF, then click
Focus Merge frame. Export to complete the process.

IN ASSOCIATION WITH AFFINITY PHOTO | SOFTWARE
The Magic of Merging
AS WE’VE SEEN, Affinity Photo 2’s powerful

Focus Merge feature makes light work of quite a
tricky task. However, the merging magic doesn’t
have to end there, because this software also
supports HDR Merging, and this is a way to
combine multiple images to make the most of
the Highlights and Shadows in the scene. Just
like Focus Merge, the HDR Merge technique
takes just minutes to complete, and there’s a
clever bonus as well for those wanting to add a
dash of creativity to their HDR creations, since
Affinity Photo 2 also offers a number of one-
click presents that tone the HDR for stylised
results. You can select from more subtle Presets
or go for a more intense HDR effect by selecting
a Dramatic Preset from the list of options.
More information:
❚ affinity.serif.com
VIDEO
Click here to watch an exclusive video where
Matty talks through this and other useful Affinity
Photo post-production techniques in real time.

PRO TECHNIQUE
Take
Control of
Colour!
Our new Datacolor-sponsored series will be showing how simple it
can be for professional creatives to implement an efficient colour
managed workflow that will help you save both time and money.
E’VE ALL HEARD about colour
Image ©Jack Lodge Photography

W
Jack Lodge regularly
management, but how
sells prints to
many professionals actually collectors and so it's
implement it fully in their hugely important that
businesses? The chances are that many he colour manages his
either don’t at all, or might incorporate workflow throughout.
a few elements but then find excuses for
not getting more involved. And there is
definitely a fear factor involved, even if it’s
the case that, when you look a little closer, it
isn’t really that scary at all, while the benefits
of being totally in control of your colour,
and knowing for sure what you’re viewing
on your monitor is completely accurate, are
considerable, and can save time and money.
One of the biggest players in the whole
field of colour management is Datacolor,
and they’re the company behind a number
of highly regarded and remarkably cost-
effective smart colour solutions that are
designed to perfectly fit the workflow difference an efficient and well-maintained into an indispensable e-book that you can
of the creative professional. Perhaps its colour managed workflow can make. Our download and refer to, and if you want to be
best-known product is the aptly-named, Datacolor-sponsored series will be seeking truly professional about every aspect of your
and freshly updated, Spyder, which sits to de-mystify the whole process, and business, then this is one publication that
at the heart of a number of packages that along the way we’ll be talking to a number you’ll be wanting to keep for the long term.
are specifically tailored for the needs of of top professionals who have seamlessly
the working photographer, videographer incorporated colour management into COLOUR MANAGEMENT
and designer. Alongside are some clever their respective businesses. We'll be seeing To understand colour management, you first
and well-designed accessories, such as the the difference this has made and how this need to take a closer look at the properties
Spyder Checkr Photo, which provides colour approach has become just an integrated and of light. White light consists of all of the
charts and grey scales all in a robust and logical element of their everyday strategy. colours of the visible spectrum and, as the
easy-to-carry package to enable an accurate We won’t be looking to bewilder you with composition of light changes, its colour
colour reference to be taken quickly and highly technical explanations and complex temperature changes. For instance, there
simply from any scene being captured. diagrams that look like something out of a are more reds in the evening sun than in the
Once you get past the fear factor high-end physics exam paper. Rather we’ll midday sun, where the colours have a much
and start to take a closer look at how be talking through everything in an easy- more balanced ratio. That means a white
straightforward it can be to use these to-understand way, and showing through sheet of paper should have a warm, neutral,
products in your own business it’s a the experience of others how everything fits or cool look at different times of the day but,
revelation to discover just how much together. The series will eventually build up as we know, that’s not always the case.

COLOUR MANAGEMENT | TECHNIQUE
Image ©Jack Lodge Photography

ABOVE: Jack Lodge's workstation , and he regularly uses his Spyder X
Elite to calibrate his BenQ SW271C monitor and MacBook Pro laptop.
BELOW: A device such as the Datacolor Spyder is a simple and efficient
way to make sure that the colour you see on your screen is truly accurate.
What about human vision? The retina of will capture or display colours in different THE PRINCIPLE IN ACTION
the eye, which is quite comparable with the ways. So, this means that a properly set up To really get a feel for how it all works in
sensor of a camera, perceives these colour colour management system will involve practice it’s worth talking to a someone such
differences and redirects these signals to the all of the devices within the system having as landscape photography professional Jack
brain. The brain then analyses this data and to be calibrated in the same way, so that Lodge to find out how colour management
effectively completes a white balance based consistent colour can be achieved. is just a seamless element of his business, ›
on recent sensory experience. As a result,
that sheet of paper we've just been talking
about would then appear white in all cases, a
phenomenon called colour constancy.
People also perceive colours at different
brightness levels. Our brains perceive an
image that differs from what’s actually
present. This explains why an image shot
under fluorescent lighting conditions might
appear green in a photograph, whereas the
eye will see it as a completely normal colour.
Essentially regular imaging devices won’t
have the correction techniques associated
with human vision to counteract this.
The aim of colour management is to
simulate the brain, and to correct the raw
data that’s coming from the sensor in order
to match the feeling of human perception
more closely. It needs to be understood,
however, that every part of the process of
creating and outputting imagery is likely to
involve devices, from the camera through
to the likes of monitors and printers, that

TECHNIQUE | COLOUR MANAGEMENT
something that’s just automatic and which

helps his entire operation to run smoothly.
“Almost without me really thinking
about it too much, colour management is
an integral part of what I do,” says Jack, “and
it just ensures that I’m totally in control of
what my end result is going to be. A big part
of what I do is selling prints to collectors,
which I might output on my own studio-
based Canon PRO 300 printer or have
produced for me by my regular lab. Because
these have to be top quality, both in terms
if appearance and archival permanence,
these are obviously expensive. This makes it
really important that I have consistency, and
there will be no unwanted surprises along
the way that could mean the print ultimately
wouldn’t be exactly how I wanted it and
would have to be re-made.
“I use a Spyder X Elite to
calibrate both my BenQ SW271C
monitor in the studio and my
MacBook Pro when I’m travelling.
I’ve colour managed my monitor pretty
much since day one, and it’s made easier
by the fact that the SW271C features a The hardest part is “I point out to those who are only
built-in calibrator, so it literally takes 10-15 “
adjusting your eyes to producing JPEGs that, if they have perhaps
minutes at the most to check the colour. I spent money on visiting a really special
try and do it every other month, and make accurate colours, since location, they might want to revisit those
little reminders to myself in my calendar to you might have got files ten years down the line, and if they’ve
ensure I stay on top of things. shot in RAW alongside JPEG then there is
“The hardest part is adjusting your
used to a screen that's lots they can do. If they only have JPEG files,
eyes to accurate colours, since you might too bright, and, often, however, then they’re stuck with the white
have got used to a screen that’s too bright too blue. If you haven't balance that was set by the camera at the
and, often, too blue as well. If you haven’t time and they won’t be able to do anything,
processed on a calibrated monitor before
processed on a calibrated which will be hugely frustrating for them.
you might find yourself having to re-process monitor before you might “I make the point that hard drive space is
everything, especially if you’re looking to find yourself having to relatively cheap these days while, if you’re
print out your results.” a professional, then you should be working
As someone who runs regular landscape
re-process everything, with high-capacity, good quality memory
photography workshops, one of the things especially if you want to cards in any case, and these should be plenty
that Jack asks his delegates to do is to bring print your results. ” big enough to allow you to shoot in RAW all
in their laptop, and he will then use his the time. It’s a fundamental thing, and it’s
Spyder to show them how to calibrate the strong relationship and sends across 16-bit the way you should be working.”
screen if they’re not already doing that, and TIFF files in the Adobe RGB colour space, Jack also points out to delegates the
he also walks through why it makes so much which is exactly what he uses on his home shortcomings of allowing your camera to
sense to be in control of this element. system. “It means that what’s output by the make too many colour managing decisions
“Having colour on my monitor that lab will have the same appearance as the for you out in the field. “Some cameras
I know I can trust makes life a lot easier prints I output myself on my Canon printer,” will offer a specific setting for landscape
down the line in terms of accurate post- he says. “There’s absolutely no difference, pictures,” he says, “which, if you’re shooting
production,” comments Jack, “but you still and it’s this consistency that’s key.” in JPEG, will bake these into the file. Even if
need to remember you can never make an Another point that Jack puts across very you’re also shooting in RAW, you will still see
image look the same on every device it’s strongly to his delegates is the need to be an image on the back of your camera that is
going to be seen on. However, having it shooting in RAW, even if the person behind not true to what you’ve just captured, and
correct in front of your own eyes is the most the camera is ultimately intending to just when you load up the RAW file it’s going to
important thing, as you know it’s how it work with a JPEG workflow. “There really look entirely different. You need to get used
should be seen, and that’s a big plus point in is no excuse these days for a professional to seeing a flat image that’s been stripped
terms of judging your final prints.” not to be working with RAW files,” he says. back, and you’re then in total control of
Working with one regular lab, Fine Art Inc “It just gives you so much more freedom to how that image is going to look at the
in Swanage, Dorset, Jack has developed a make changes down the line if required. post-production stage.”

COLOUR MANAGEMENT | TECHNIQUE
Introducing the Spyder X2 Elite and X2 Ultra

COLOUR MANAGEMENT tools are
evolving all the time, and Datacolor has
now released the latest iteration of its
hugely popular monitor calibrator, the
Spyder, the X2 Elite and X2 Ultra. The X2
Ultra’s expanded sensor capability has
been designed to allow for calibration
of HDR/high brightness monitors up to
2000 cd/m2 (nits), making it ideal for
photo, video and hybrid use.
The redesigned software User
Interface of the X2 platform brings
a cleaner and more concise user
experience. Novices to calibration are
sure to appreciate expert-recommended
calibration presets, while pros will
be able to take full advantage of both
the X2 Elite’s and X2 Ultra’s advanced
calibration features, which include
Video & Cinema targets (Rec. 709, Rec.
2020), Advanced Display Mapping &
Analysis, Unlimited Calibration Settings
and Studio Match for multiple, side-by-
side display calibration.
For users planning to upgrade to the
newest HDR/high-brightness monitors,
the Spyder X2 Elite allows for a
seamless, affordable upgrade to Spyder
X2 Ultra via software, meaning no
requirement for a hardware purchase.
The new Spyder X2 Elite which, along

with the X2 Ultra, makes up a new
generation of clever and versatile
calibration devices from Datacolor.
❚ For more information about how to

In this film Gary Hill talks through how to calibrate a
VIDEO monitor and to use the Spyder Checkr Photo. purchase original prints from Jack
Lodge, or to sign up for 1-2-1 tuition or
one of his popular workshops, visit:
jacklodge.co.uk.
Next Month
We look at the importance of regularly
colour managing your monitor to ensure
that you always know that what you’re
looking at is truly accurate colour.
More information:
❚ datacolor.com/spyder/products/
spyder-x2-ultra

LISA DEVLIN
Is
Marketing methods
come and go, and
some question
Blogging
whether the blog
has had its day, but
Lisa believes that it
Back?
can have real value
for your business if you just
know the ground rules.
AVE BLOGS had their day? to keep progressing. Blog posts can
H This was a question I was

asked recently when I was
a guest on the Folio Albums
podcast, hosted by Stewart Randall,
be great for this, as we can present
our own curated selection of images
along with some text, influencing
who books us and what they might
the founder of Folio, who used to be a be expecting from us.
wedding photographer. He explained Before social media, blogs were
that blogging was a thing back in the how clients were presented with
day when he worked in weddings, but Sneak Peeks (preview images)
he thought it had now died away. This from their weddings. As these are
was peculiar to me as, in my two decades predominantly posted on social
of being a wedding photographer, media now, the role of blogging
blogging has always played its part in has changed, and maybe that’s
how I market to my ideal customers. why Stewart thinks they stopped
But before we fully get into this topic, altogether. And I have to confess, I
I want you to consider this important did blog much more fastidiously back
transmission from me to you just for then. We made these mini ‘reports’
a moment. As someone who’s been on each wedding that we were
around for a while now, and who has shooting, and typically would deliver
seen many changes in the industry, the full gallery sometime after this.
I want you to understand that your The main difference is that now
website is the only piece of digital real we blog for our future couples, not
estate that belongs entirely to you. You our past ones. Your blog posts can be
have complete control over it, and this set up as bait to hook your preferred
is not true anywhere else online where customers. Search engines like to see
you’re putting your marketing efforts. fresh content when they crawl your
Hopefully, that crucial nugget of site, and blog posts are ideal for this.
information has had the chance to They also give you a chance to put
properly sink in: now let’s discuss response was that people would be able your personality and your passions across.
blogging for wedding photographers. to look at my portfolio on the Internet. Remember that this is your space and
Let’s look at why you should (still) be If you’re a Millennial or a Gen Z then you can do what you want with it. Don’t
doing it, and why it’s your secret weapon it might be hard to envisage this but, like staying late at weddings? Don’t show
to attract your ideal customers. back then, there were not many websites the evening party part of a wedding. Not
Can you believe that I’ve had a around. As the world partied to Prince’s fussed about the getting ready part of a
website for my wedding photography 1999 at the turn of the millennium, just wedding day? Don’t show images from
business since the year 2000? I’d love over 3 million websites existed globally. that section then.
to say that I was ahead of the times and For perspective, there are currently an The more you present the parts of
a trendsetter, but the truth is that I was estimated 1.13 billion around today. the day that you’re the most passionate
gifted my initial website from my first about, the more aligned you will become
groom. No money changed hands back Influence Through Blogging with what customers ask you for. One
then, just this exchange of services. So, if they started out as a means for simple rule and one that can work
I would have done the wedding for photographers to have online portfolios, extremely well is Show What You Want
nothing as they were my friends, and I where did the blogging part start to to Shoot. Future clients are on your blog
didn’t want any pressure, so I wasn’t that fit in? Like many creative industries, looking for a sense of what it’s like to work
bothered when he offered. I recall asking photography is a dynamic career and we with you, what your personality is like, as
what a website would be good for. His want to display our latest work in order well as what kind of images you take.

THE BEAUTY OF BLOGGING | LISA DEVLIN
Here are My Blogging

Dos and Don’ts
❚ Do look for at least one element from
each wedding that you can blog about.
So maybe the whole thing wasn’t
super ideal for what you’d like to move
forward with, but there’s nearly always
a subject you can pull out that is.
❚ Do think about SEO - search engine
optimisation. Just think about what
your kind of customers might input into
Google when looking for their wedding
venue or photographer. Use these key
terms in the title and text of your blog
post, and I would also include the term
in the image names themselves.
❚ Do blog. It doesn’t matter if you haven’t
in ages, or perhaps you can’t stick to
regular slots: just get out there and blog.
It’s never as hard as you think, and it can
work better than any other marketing
you do. Yes, you should follow some
rules, but also just getting anything out
there is better than never blogging.
❚ Don’t be afraid to highlight the parts
of shooting weddings that you love the
most, the kinds of venues that appeal to
you, the style of weddings etc.
❚ Don’t feel that you have to switch to
a different voice on this part of your
website. Remember you want to get
your personality across, so write in a
natural way. One trick can be to read the
copy aloud. Does it feel awkward to say?
If this is the case then it’s probably not
quite your natural tone, so change it.
❚ Don’t make your content too set in
time. So don’t display the dates on your ❚ Be a Better Blogger:

articles, and don’t refer to ‘last weekend I got together with the wonderful
I shot this’ or ‘this time of year’. Instead photographer, Katie Rogers, who is
make them as evergreen as you can, so a much more conscientious blogger
that whenever someone finds them in than me, to host a class online called
the future, they remain relevant. Be a Better Blogger. Katie has come
❚ Finally, once you’ve gone to all the effort up with a simple formula that helps
of creating a blog post, you need to make with what to write on our blogs
sure you get the maximum value out of and, if this is something you
it. You can, for example, easily extract struggle with, I recommend
some extra social media content from you should go take a look.
it with very little effort. I tend to copy
and paste the text into captions, or
re-purpose the selected images into a
social media carousel or reel. Ultimately More information about Lisa:
one blog post has the potential to be ❚ photographyfarm.co.uk
harvested for multiple pieces of ❚ @devlinphotos
content across multiple platforms. ❚ @photographyfarm

MARKETING: NEW SERIES
Every photographer
Finding is unique and, if

you’re building a
business, it’s crucial
your
to create one that
will work for you.
In her new series
Focus
Marianne from Hiya Marianne
will be sharing her secrets.
WORDS & IMAGES HIYA MARIANNE
S CREATIVES, we’re passionate
A about creating and capturing

beauty in the world around
us. However, when it comes
to running a business, many of us find
ourselves feeling lost or overwhelmed. It
can be challenging or even inauthentic
to try to balance our creativity with the
practicalities of entrepreneurship. For
some it might, at times, seem like it's an
impossible task to play both the role of a
creative and a business owner. I’m here to
tell you it doesn’t have to be!
I started my photography business back
in the noughties and, over the past fifteen
years, I’ve gone through several iterations
of what my core offering is and how my
business is structured. During that time
I’ve transitioned from weddings across to
commercial photography, moved locations
across the country, and had my whole
life turned upside down at several points
throughout the past decade. And at each
point, I’ve had to figure out how best to
reshape my business going forward.
I’ve always been a thirsty learner and,
over the years, I’ve tried out a great many
different tips, tricks and methods in order
to find new ways of running my business have space for creativity and the structures a successful business can be a creative
that feel the most like me. Throughout in place that support a steady income. My challenge in itself. It requires us to think
this time I’ve been a student, and I’ve photography business feels right for me outside the box, come up with unique
been a teacher, offering 1-2-1 mentoring, right now. I’m not saying it’s forever, but it’s solutions to problems and find ways to
workshops and at one point, I even exactly what works for my life as it is today. market our work that feel authentic to us.
developed and offered an educational Throughout my upcoming series I’m My main goal is to inspire and empower
brand and membership website. going to be sharing my experiences and you to build a business that reflects your
There have been periods where my insights into building a business that feels true self. I will explore how success can look
business has been bigger, where I’ve right for you. I’ll cover things like how to entirely different for each of us at particular
had teams to work with, and there are market your photography business in ways points in our working lives, and I’ll look
other times where I’ve worked entirely that work for your personality, how to find at how we can redefine what it means to
alone. I've had occasions when I’ve been the clients who are right for you and how to be successful on our own terms. I will also
overwhelmingly busy, and times when use your unique traits as a strength. We’re touch on embracing change and pivoting
I’ve jumped off new cliff edges into the passionate about our craft, and switching when necessary. We all have unique
unknown, feeling terrified. Today, I feel gears and focusing on the practicalities of personalities and approaches to our craft:
like I’ve arrived at a place where I feel running a business can feel challenging so why should we all approach building our
comfortable. I’ve created a business where I at times. However, I believe that building businesses in exactly the same way?

BUILD YOUR BRAND | BUSINESS
Here are some topics that I feel are the

cornerstones of creating the perfect
business that will work for you, which we’ll
be digging into as the series progresses.
Marketing for Your

Personality Type
We’ll start by exploring the idea of
marketing in ways that work for your
personality. We all have different strengths
and weaknesses, and it’s crucial to find the
methods that align with your personality
and values. Believe it or not, you don’t have
to do all the marketing activities. In fact,
feeling like you do often has the opposite
effect, and makes you avoid marketing
altogether: am I right? I’ll be sharing my
own experiences and insights regarding
methods that will work best for you.
Finding the Right Clients

We’ll then delve into the importance of
finding the right clients for you. It’s not just
about finding any client willing to pay for
our services, but finding ones who align
with our values and work style. We’ll discuss
how to identify them, how to attract them
and then how to research your market.
Uniquely You
Something I’m really passionate about
is figuring out how to work with your
handicaps, and how you might even
find a way to turn them into your unique
strength. Whether it’s your personality,
circumstances or even a brain that just
happens to be wired differently, we all
have things that make us unique. I’ll share
my own journey of embracing my quirks
and using them to fuel my business, and
provide tips on how you can do the same.
to join me on what is going to be a really
What is Success? The Importance exciting journey of discovery. Together,
We’ll then focus on the concept of success of Solid Systems we can create businesses that are both
on your own terms. It’s easy to get caught This might feel like the most tedious part of authentically successful and true to who
up in the idea of chasing things that might running a business, but trust me when I tell we are. I’m excited to be sharing my
not align with your values and goals. I’ll you that a solid system is the most critical experiences and insights in this series,
discuss the importance of defining success component for creatives to get right. and I hope it inspires you to build a
for yourself and setting realistic goals. Systems are there to free us from being business that truly looks like you.
overwhelmed. Once we have our schedules
Learn to Pivot! and workflows nailed down, we free up so More information:
The one constant in life is change, and much more space for what we do best – ❚ hiyamarianne.com
the past few years has been a global crash being creative. Yes, it takes some mundane ❚ instagram.com/hiyamarianne
course in this! Unfortunately, all the work to get these established at first, but ❚ tiktok.com/@hiyamarianne
uncertainty has left many of us feeling it will be 100% worth your while! I’ll hold
stuck and scared. It’s important to not be your hand while we dig into what type of Next Month
afraid of change. The world is constantly workflows you should be establishing. Marianne focuses on ways you can
evolving, and so should we. We’ll explore market that are designed to work for
the importance of pivoting and adapting in If you’re a photographer struggling to your specific personality type.
order to continue growing and succeeding. navigate the business world, I invite you

PRO GEAR: UPGRADING
Switching
the System
It’s a big ask for a pro photographer to switch camera
systems, so why might you consider doing it and
what’s involved? Richard Bradbury dips into personal
experience to explain. WORDS RICHARD BRADBURY IMAGES JESS KEATLEY
ACK IN THE summer of 2018 I
B had a decision to make. I’d been

working with my regular Canon
kit for quite some time and I was
now ready for a change. Professional gear
can take quite a beating, mainly because it
tends to be used on a daily basis and, with
my job calling for me to be regularly shooting
location portraits without an assistant, I
was looking for an outfit that was portable,
sturdy, flexible and lightweight.
At that time my camera bag consisted
of a Canon EOS 5D Mark IV with my older
5D Mark III also packed to serve as back up,
while my line-up of L lenses included an
EF 16-35mm f/4, EF 24-70mm f/2.8 and
an EF 70-200mm f/2.8. Further options
included a couple of older lenses, including a
much loved 35-105mm f/3.5, which was my
favourite lightweight, ‘one camera with one
lens’ travel option at the time, along with a good they were as well, and so decided to buy
couple of Canon 580 EX speedlites. their V860 Speedlites rather than the more
Richard tries out his new Canon EOS R5
I’d been a loyal Canon user for over 25 complete with RF 70-200mm f/2.8, and it expensive Sony equivalents.
years, dating right back to my film days, and marks a move back to the Canon system. Later that year Canon launched its first
during that time I had simply updated my kit full frame 30MP mirrorless camera the ‘R’,
as and when required. However, electronic something that was primarily relevant to with Nikon unveiling its Z range shortly
viewfinder technology was fast becoming the consumer market and, by so doing, were afterwards, but both of these cameras fell
the next big leap forward in the camera failing to grasp just how good electronic some way short of the 42.4MP A7R III in
world although, at that time, they were more viewfinders had become. EV cameras were most reviews. It’s interesting to note that,
to be found in cameras aimed at enthusiasts stealing the high ground at that time, so I during this period, Sony became the best-
rather than in full frame pro models. decided I needed a change of gear. selling professional camera brand in the USA
Sony was the exception to this rule, with After weighing up all my options I finally after decades of Canon vs Nikon domination,
its Alpha range being exclusively EV driven. decided to take the leap and made the so I wasn’t the only one making the change.
I was waiting for Canon to produce its own switch to Sony, buying an A7R III and the This was five years ago, and I now find
products incorporating this technology corresponding ‘holy trinity’ of G Master myself in a similar predicament. With a
but, as time went by, both they and Nikon lenses, namely the 24-70mm, 70-200mm shutter-count of over 140,000 actuations,
seemed, in my opinion, to be a little and 16-35mm, all f/2.8 optics. Having tested my A7R III is no longer in its first flush
reluctant to join the movement. I think they out the Godox AD 600 Pro studio/location of youth. I’ve loved the Sony ownership
both possibly judged the EV ‘thing’ to be flash units, I was blown away by just how experience, but when trying out a friend’s

SYSTEM SWITCH | PRO GEAR
Richard moved across to the Sony Alpha back in

2018, but now found himself being drawn to the
Canon EOS R System, in the form of the EOS R5.
R-Series Canon camera during a recent test Making the Change specific, so you may be able to keep your
I was reminded of just how naturally the Deciding to have a complete change of studio lights but you’ll need new transceivers
sculpted body felt in my larger than average brand is not something to be taken lightly, and on-camera speedlites when you change
hands, and no matter how hard I tried I especially when you’re a hard-working brands, and this can get very expensive!
couldn’t get that out of my head. There was professional, so I would advise caution if Simply buying a new camera body within
something drawing me back to the Canon you’re thinking of following my example. the same manufacturer’s range is by far the
brand. I looked extensively at the Canon And it’s not only the cameras and lenses: easier choice. You can keep the lenses and
system vs Sony and Nikon and it seemed to intelligent TTL and fast shutter flash accessories you like the most and replace
me that Canon had set a new standard. systems both on and off-camera are brand- them individually as required. It works out
a lot easier on the bank balance. There’s
also the point that your relationship with
your gear tends to be tactile and sensory. As
professionals we all know how important it
is to have a complete connection with your
kit. Your camera needs to be an extension of
your body if you’re to operate the equipment
at a fluid and professional level.
Given all this, you really have to be sure
that your new brand choice is going to give
you something significantly better than
you’re currently working with. Realistically,
of course, all the top brands have the
potential to produce superb imagery and,
let’s face it, they are all brilliant cameras
these days. But if you feel as passionately as
I do about the equipment you use then little
things can make a big difference.
Many stores, as well as manufacturers,
now offer a free test drive service, which is
something I strongly recommend you take
advantage of. Canon’s ‘Try the Kit’ offer, ›

PRO GEAR | SYSTEM SWITCH
for example, is extremely good, enabling you The ergonomics of the Canon 15-35mm f/4 rather than the considerably
to try out virtually any kit you want for 48 EOS R system appealed greatly more expensive f/2.8 option.
hours and a get a full refund on return (just to Richard, while he also found The kit was ordered and arrived before
he quickly felt comfortable
go to https://testdrive.trythekit.com/ I sold my Sony gear. This is always a good
again with the system.
cameras/). If you can’t find a free test idea, since it gives you some time to bed in
offer then you can always rent short your new equipment and get used to the
term, with most stores giving a full nuances of a different camera system.
rental refund if you decide to buy within These days all camera systems are
a reasonable period after hiring. so complex that it can take
I use ‘Fat Llama’ (https://fatllama. some time to explore
com/) quite a bit if I want to try kit all the options.
out, or if I need some specialist kit I find it’s useful
for a one-off requirement. This to head into the
excellent app enables you to wonderful world of
find a private individual, YouTube to watch
local to your area, who is a million ‘How to set
willing to rent out their up your Canon R5’ videos.
equipment for a limited These are a good starting
period. From the opposite point, and you can then add
perspective it’s also a great your own custom settings as
way for you to make some extra required. After a week or so I
cash from kit that’s potentially had used the Canon system
just sitting in your equipment cupboard on several jobs and had
doing nothing in-between jobs. also taken it away to the
Richard enjoyed his line- Lake District for a spot
Choosing the Brand up of Sony lenses, and of landscape shooting. It
When deciding which camera brand to go made the decision to replace bedded in beautifully, with
with, I already had in mind the features I them on close to a like-for-like my Canon muscle memory
basis with their Canon equivalents.
felt were the most important to me, but returning quicker than I’d expected.
it sometimes helps if you can write them
down, so you can study the options. Selling on Your Kit
If you’re changing systems then the
❚ I’m primarily a stills shooter, so in my chances are that you could have quite
case video isn’t all that important to me a lot of used kit to move on, maybe
while, for some other photographers, a selection of bodies and a range of
this consideration could be crucial. lenses and accessories, so what’s the
❚ I need excellent and responsive eye best way to sell in volume? There are
focus for outdoor action portraits. a few options to consider, so let’s see
❚ In my field 40-50MP is the new what each has to offer.
base standard that’s going to be
required for most applications. Sell Privately
❚ A frame rate of 10-20fps is likely to Your Mates
to be able to cope with anything A private sale of your kit to friends
I’m going to throw at the camera. and associates is a great way to
❚ A reliable, well-built system is essential, move equipment on. In the past I’ve
because I give my cameras a fair beating. passed on several bits of kit this way,
❚ Most important of all is the ergonomics of and it’s always my first port of call. If
the camera and how it feels in my hand. Canon EOS R5 vs the Nikon Z 7 II vs the Sony you’re a member of any of the photography
A7R V. This feature is not intended to be a associations then think about using their
The last of those points is where Canon camera review, so I’m not going to go into social media channels to post the availability
scored highest for me. Obviously, Sony has all the detailed differences and reasons of your redundant gear, since this will give
also moved on since my A7R III purchase, but that influenced my buying decision here. you a wider audience. Do be careful that the
Canon and Nikon have also responded to the However, ultimately, I felt the Canon EOS kit you offer is in perfect condition, however:
changing market. The Sony A7R V now offers R5 was the best choice for me. As well as the it’s one thing to have to deal with a fault
61MP resolution with enhanced features, way it felt in my hand, I particularly liked its complaint, but if this is coming from a friend
but the A7R III is still available and remains, fantastic focus tracking, superfast eye focus then it can be awkward to deal with.
in my opinion, a great camera. and the new super compact RF 70-200mm
I ran the rule over other brands, such f/2.8 lens. I decided to go for that lens plus Part Exchange
as Fujifilm, Panasonic and Olympus, but the RF 24-70mm f/2.8 and, when it came This can be a quick and stress-free way to
my choice eventually came down to the to my super-wide option, I opted for the RF pass on your used kit, and potentially part

SYSTEM SWITCH | PRO GEAR
By switching to the now fully

established Canon EOS R
mirrorless system Richard has
given himself access to a vast
and growing family of gear.
of the price negotiation at the time when

If you’re selling a
you’re buying new. The only downsides are “
significant amount of
that, firstly, you’re in the hands of the store
as to what they feel the price should be. equipment in one go it
They might not have a local requirement
for that particular piece of kit, which can
does save a lot of time,
impact on what they are prepared to offer. It hassle and worry to go
also removes the possibility of a cross-over
period for you to get used to your new gear.
through a specialist used
kit retailer, while there is
Auction Sites potentially the option to
Auction sites such as Ebay have the potential
to give you the best price for your used gear, trade up at the same time,
but they do come with risk attached on a something MPB goes
number of levels. Even though safeguards
are in place, scammers are still a constant
out of its way to make as
threat, and it can be hard to spot their tactics simple as possible. ”
until it’s too late. The trick is to make sure
you state every detail of the item’s condition, can find more detail about how it all went busy working professional.
including every nick and scratch. Take lots over the next couple of pages. You might Of course, many photographers will
of detailed photographs, make sure the ad is not achieve the highest amount you could choose to remain loyal to one brand for
‘plus post and packaging’ and always show a raise for your kit through this approach but, their entire career, but I would strongly
‘Buy it now’ price for a quick sale. Ebay does particularly for those, like me, who were recommend that you do step back from
have some pretty cool features which many selling a significant amount of equipment time to time just to make sure that you
people don’t use. For example, try searching in one go, it does save a lot of time, hassle really are working with the kit that’s best for
for the item you’re selling and click on ‘Sold and worry. There’s also the option, if you’re your current requirements.
Items’ on the left-hand side. This will show looking to acquire your new outfit through There are times when certain
you the prices past items have sold for, so the used route, to trade up at the same time manufacturers will pull ahead from their
this way you can get a good idea what your as well, which is something MPB goes out of rivals and, by keeping an eye on that
kit is worth before listing. its way to make as simple as possible. particular ball, it’s a sure-fire way to
Obviously they’re not the only player in keep yourself up to speed with technical
Specialist Used Kit Retailer town, and so you could shop around a little innovations, while it’s also a fact that
On this occasion this route was my perhaps to see if one of the alternative used nothing inspires you more than a
preferred option, since it was a safe and kit specialists might offer you more money, sparkling new camera system.
straightforward way to work and offered but overall this is a really safe and secure way
the least downsides. I used MPB for my of doing business, and it could well ideally More information:
transaction, who I found to be excellent: you suit the very specific requirements of the ❚ richardbradbury.com

Here ‘s the Sony kit Richard
traded in when switching back
to Canon, and the process was
quick and stress-free.
Super Smooth Sales

If, like Richard Bradbury, you’re swapping systems and have
kit in bulk to move on, a great option is to work with a specialist
second-hand retailer like MPB to simplify the process.
OR PROFESSIONAL PHOTOGRAPHERS
F the choice of kit they use is crucial

and, while they might perhaps
have a soft spot for one particular
brand, at the end of the day sentiment can’t
come into it. This inevitably means there
could be times when there’s no choice other
than to swap systems and to go for one that
happens to be more closely aligned to your
current working requirements.
The problem, of course, is that a system,
particularly for the pro, is about far more
than just a camera body and a couple of
lenses. There is likely to be a line-up of
lenses and accessories, such as batteries
and converters and maybe even the likes of
filters to consider, and moving everything
on if you make the call to swap brands is
never going to be a simple matter. Not
so long ago pretty much the only option
if you couldn’t happen to find a fellow
photographer to take the whole lot off your
hands was to go down the route of selling
everything off privately, a hugely time-
consuming and potentially risky business. it could also be a hugely time-consuming have had similar problems, and it can be a
For Richard Bradbury that route was his process, and you’re at the mercy of any minefield at times if you’re not careful.
first thought, but it wasn’t one he relished. scammers that happen to be out there. I’ve “The other point to consider is that it
“It can be a great way to realise the best had personal experience of sales that have can be more expensive to sell through an
price for your kit,” he says, “but then again, not gone to plan and I know others who auction site than you realise, since they

| ADVERTORIAL
Get a Quote!
Tap here to get your used
kit priced up by MPB.
will charge you for every box you tick,

while a payment service such as PayPal
will obviously also take a commission. In
the end I felt that my best route to selling
everything I needed to move on with the
least amount of personal hassle was to work
with an established used kit specialist, and
MPB was a natural place to go.”
Richard was moving from a Sony kit,
based around an A7 R III body that he’d
purchased in 2018, which now had over
140,000 actuations, plus the ‘holy trinity’
of G-Master lenses, namely a 16-35mm,
24-70mm and 70-200mm, all f/2.8 optics,
plus a Sony VG-C4EM Vertical Grip. Despite
their heavy professional use over a five-
year period all items were in good working
condition, and all were items MPB was
happy to consider acquiring.
One killer tip from Richard, who has
had vast experience of selling through to give advice on items to buy when a
the second-hand route over the years, is “ If, like me, you’re customer is trading in, and make sure they
to think ahead at the time of purchase, selling a significant get the best possible deal we can provide,
and to carefully conserve the boxes and amount of kit, a named while also ensuring all the items they’re
instruction books so that, when the gear offered are up to the standard they’re after.
is ultimately sold on, the kit will have that MPB staff member will “We do get a lot of professionals
extra feel of having been looked after. It’s contact you via email to approaching us to trade in their kit, even
a small detail perhaps, but it can add to the if they might be coming to us initially to
value of the kit you’re selling, and it can also
make sure everything ascertain a base price for their kit before
significantly boost its selling power. is good, and you can then looking to sell it privately, and it’s
very easy to get a valuation for your gear
Dealing in Volume
discuss your equipment by using our website. But we also get many
“In terms of arranging the sale with MPB it with him/her. When who will come back to us when they realise
was one of the easiest things I’ve ever had you’re happy with that we’re usually by far the easiest and
to do,” says Richard. “You list your items quickest option that’s available out there.”
with them on their simple-to-use website,
everything they send Full systems are nothing unusual for
stating the model name and the condition you a DPD refence and MPB to deal with, and the company is fully
that each piece of equipment happens set up to check through quantities of gear
to be in. They then send you an accurate
then collect the kit at quickly and efficiently, and it can speed
estimate, usually within a few hours. their expense. ” things up since the lenses can be checked
“If, like me, you’re selling a significant out in association with the cameras they’re
amount of kit, a named MPB staff member its belt, and a long history of dealing in arriving with. Collection is not an issue
will contact you via email to make sure volume – in a typical week the company can either: “We can usually arrange for up
everything is good, and you can discuss add thousands of products to its itinerary, to three boxes to be collected at any one
your equipment with him/her. When you’re and it recirculates around 350,000 items of time,” says Sam, “and if more are required
happy with everything they send you a DPD kit in a typical year – MPB is a natural place then we can easily take care of that as well.
reference and then collect the kit at their to go for the professional photographer We can also arrange for drop offs directly at
expense. They assess the kit and, if all is looking for a straightforward moving on of our Sussex House warehouse near Brighton
in order, they pay you the agreed amount gear. As a bonus, had Richard been looking in exceptional circumstances.
directly into your bank account. They to upgrade his kit through the used route he “Indeed, dealing in high volumes is not
are efficient and professional, and I was could also have done this through a simple only not an issue but, as we move towards
pleasantly surprised by the offer of £3500 channel MPB provides for trading up. new systems of accounts, we would actively
they made. Less than I might have raised “We definitely could have helped Richard encourage this. Ultimately, we just love
through the likes of Ebay perhaps, but then to trade up to the Canon system he was doing business with those who
again more than I would have received via after had that been something he wanted happen to be professionals.”
a part exchange. And all with no hassle, no to do,” says MPB product specialist Sam
problems and completely stress free.” Parker, who was the person looking after More information:
With over ten years of experience under this particular transaction. “I always aim ❚ mpb.com

Trading Up to Motion
IN ASSOCIATION WITH MPB
High-Powered
Hybrid
Our new MPB-sponsored series is
focusing on kit that will move you into
video production, and our first look is
at what a Fujifilm 40.2MP camera and
WORDS & IMAGES JIM MARKS cinema lens combo can enable.
BUY TOO MUCH GEAR. There I’ve
I said it openly, as this is a safe space.

The reason, for me at least, is
twofold: first, I genuinely love using
and learning through cameras and, secondly,
we all work in an industry that never stops
innovating. However, this admission comes
with a price attached. You have to be honest
with yourself about what kit inspires you and
your work, and you need to be ruthless when
it’s time to change up and move on.
This where a second-hand specialist
such as MPB offers a solution, giving you
the option to browse, swap or sell to finance
your next move. As a commercial content
creator, I’m always on the lookout for new
tools, and the camera I borrowed from
MPB for my look at the kit that could ease
you into filmmaking is the relatively ›

PRO GEAR | USED VIDEO KIT
freshly launched Fujifilm X-H2, which

arrived with me looking decidedly box fresh.
It’s truly astonishing to me that, today, for
around eighteen hundred pounds in ‘As
New’ condition, you can buy an 8K hybrid
powerhouse, with a 40.2MP APS-C high
resolution sensor: amazing times!
For a hybrid creator where photography
and video would be required, often on the
same job, the X-H2 would be an excellent
choice. This is a camera that can take
high resolution pictures, and record video
internally as ProRes HQ, 422, and LT in 8K,
6.2K, 4K and full HD resolutions. And 8K and
6.2K is also available up to 30 fps, so this
model covers narrative use, while 4K and 4K
DCI run up to 60fps, and slo-mo up to 240fps emulsions. I really enjoyed fine tuning these, innovation, meaning that the battery can
is possible in when shooting in full HD. adding grain and manipulating them to taste. stay in the camera and just get topped up.
The camera body has a deep hand grip, You can apply them to your film footage or The Fujifilm X mount opens up a range
with a LCD top panel to check critical settings. use FLOG2 as a base for a later LUT. ProRes of glass, covering all budgets. Once again,
Essential for many pros, it runs dual card slots: Raw and BRaw are also available externally via MPB is great for finding affordable gems.
CF Express for the heavy data rates, and SD a full-size HDMI. While these are nice to have, Two small primes that jump out with good
with UHS speed class 3 or higher. Practically for me the addition of internal ProRes is the AF are the XF 27mm f/2.8 WR pocket prime
I love the fact I can run RAW files to the CF truly major step forward codec wise. (MPB price £439, as new) and the XF 90mm
Express card and JPEGs direct to the SD, with For filmmakers there’s a handy headphone f/2 R LM WR (MPB price £509, excellent
my colour settings baked in. port and a 3.5mm mic input, which can also condition), for portraits with beautiful bokeh.
Speaking of colour, the XH2 of course apply timecode if you have a splitter cable and In addition, being mirrorless, the mount can
has access to nineteen Fujifilm colour a Tentacle sync. Meanwhile the USB Type-C be adapted for vintage or PL lenses.
simulations, many based on their original film input allows charging, which is a welcome The other ace in the Fujifilm camp
Why it can make sense to film in 8K

THE FUJI X-H2 has a wide range of
resolutions and codecs, from 8K all the
way down to full HD. These new larger
resolutions offer the professional the
ability to crop a single camera view in post
into multiple high-quality views, or to try
a digital push in the edit without the risk of
suffering image degradation.
A super hi-res file also creates the
opportunity to oversample your footage,
giving you superior quality when you
deliberately pick, say, a 4K resolution.
The old joke of course is that the best
1080 camera is one that shoots in 4K, and
a good 4K one actually really needs a 6K
sensor. The high resolution also adds a
major tool for creators whose clients need
a 16:9 and social crop at the same time. By
using frame guides for 9:16 and a wider
focal length lens I find that I can frame for
the harder vertical format. dramatically different settings compared to the correspondingly higher data usage.
With so much choice it’s never been a narrative piece with a lot of colour grading Inbetween those extremes lies a happy
more important to make the right and VFX work. The former could be 1080 HD middle ground that, with testing, probably
selection for your project. As an example, with an H264 longGop compression and a suits most hybrid professionals. For me
a four-hour corporate presentation data rate of 100 Mbps, while the latter would it’s a form of 4K with 10-bit 422 colour
with a quick turnaround would need benefit from 6.2K or 8K in ProRes HQ with information that covers most bases.

IN ASSOCIATION WITH MPB WIN £250 OF MPB CREDIT! | COMPETITION
TAP TO ENTER
Win £250 to
Spend at MPB!
We’re giving readers of Professional Photo a
stunning monthly opportunity to win £250 of
MPB credit, and all you need to do is visit the
MPB website to answer one simple question!
WE ALL LOVE A COMPETITION, and especially one where
there’s a fabulous monthly prize on offer! To launch our new How to Enter
Trading up to Motion series we’ve teamed up with MPB to The competition is open to UK-based photographers and
deliver a monthly opportunity to win a valuable £250 worth entering couldn’t be easier. Simply head to the Professional
of credit that can help to make your entry into the world of Photo website at professionalphoto.online/mpbcompetition2
and answer this one simple question:
filmmaking even more affordable!
Each month we’ll pose one simple question, and all you
need to do is to visit the MPB website to find the answer and
then head to the Professional Photo website to enter via the
Q Using a gimbal can transform your filmmaking, and give
you stable footage plus the flexibility to move around.
Our question is how much would a Zhiyun Weebill-S Gimbal PRO
link you’ll find there. The first name out of the hat once the Package in Like New Condition be on the MPB website?
competition closes each month wins the prize, but don’t worry
The competition will be open up until midnight on Friday
if you don’t get lucky straight away: there will be several further
June 30, 2023, and we’ll then pick a winner out at random.
opportunities down the line to have another go!
Terms and Conditions: Entries must be received by midnight, June 30, 2023 and the winner will be notified within seven days. The winner will be chosen at random from all of the
correct entries. The competition is open to UK residents and employees of So Smart Media and the prize provider and their immediate families and agents may not enter. The prize must
be taken as offered with no alternative. Entries not in accordance with these rules will be disqualified: by entering the competition you’ll be deemed to be bound by these rules.
for commercial use is the fact that this

Fujifilm is now a major
manufacturer makes high end manual player in the world of hybrid
cinema glass, with a highly rated double cameras, and both its X-H2
set, the MK zooms. MPB had stocks of both and X-H2S cameras can
the 18-55mm T2.9 (from £1549, excellent deliver high quality video.
condition) and the 55-135mm T2.9 (£1799,
good condition), and these manual lenses
come with a little secret. If you put them on
your Fujifilm body the image stabilisation
works, and reads the zoom data in real time.
As far as I know these are the lightest, par
focal manual cinema lens with camera IS.
I had the 18-55mm to try out, but both the
MK siblings offer wonderful colour rendition,
with well damped controls and a macro close
focus function. If you want total control over
focusing and the ability to zoom in and out
without losing focus, they are a strong choice.
If I were going to rig a larger lens with an
X-H2, the first thing I would add would be a
camera cage, and Smallrig, Tilta and 8Sinn ❚ MPB is always interested in purchasing JIM MARKS IS A classic example of a
all make interesting solutions. One of these used filmmaking kit as well as still photographer turned filmmaker, who was
would allow me to add mics and wireless equipment, and if you’re at all curious encouraged by the increasing affordability
and ease of use of hybrid gear to dip a toe
receivers, and I can also support the lens with regarding the value of your used video
into the world of video production and who
a mattbox and ND filters as required. gear you can get an instant quote has never looked back. Now an award-
The aim if you can is always to build a at mpb.com/sell to see how much your winning DOP and photographer, he regularly
complete system that can come straight out unwanted gear could be worth. uses the second-hand market to trade in and
trade up his gear.
of the bag, that can be turned on, you
❚ niceanarchy.tv
press record and get straight to work.

Reach for
the Cloud!
A new collaboration between Fujifilm
and frame.io promises to revolutionise
the whole business of uploading files
and video clips from camera to Cloud
or Capture One for stills.
WORDS & IMAGES JIM MARKS
HAT IF I WERE to tell you that
W it was now possible to take a

picture or shoot a film clip and
have it travel instantly to the
Cloud? Here it could seamlessly drop into
Capture One for photography or a Cloud
portal called frame.io for video and stills.
Most importantly, it would not require a
computer or any off-loading of memory
cards along the way, and would start and
stop with you pressing the record button.
Up until now most people would imagine
I must be describing some form of phone,
with all of the filming limitations that brings.
In fact, all the hardware and software would
be integrated on a real mirrorless camera
inside the vertical battery grip, attached to
the Fujifilm X-H2S or X-H2 to be precise.
It sounds like science fiction perhaps, but
this exact solution was announced recently In 2021 Adobe acquired frame.io for an can now get the best from this new Cloud
at the NAB show in Vegas, and it potentially excess of a billion dollars, and it’s no surprise solution. It accepts two additional NP-W235
heralds an exciting evolution that will to see that it has now evolved from a video- rechargeable lithium-ion batteries which,
challenge memory cards and determine how centric product into one that’s a hybrid when combined with the original in-body
future creators manage and share their work. photography and film solution. battery, extends the X-H2’s capacity to
I started using frame.io at the time it around 1700 frames. Potentially this means
launched, since it appeared to offer a fresh Frame-io and Fujifilm a whole day shooting straight from the
solution to sharing multiple emails with Fujifilm has created the X-H2S and X-H2 bag, with battery top-up facilitated via the
clients. This was especially painful during body from the design stage to work with camera’s charging USB-C port.
the round trip of editing, when whole teams the Wi-Fi transmitter grip FT-XH, so it It also functions as a standard vertical
would be making amends on email chains grip with a secondary shutter release, focus
with ever-changing ftp links. Frame.io Fujifilm’s new FT-XH Wi-Fi lever, AE-L button, AF-On button, Q button,
meant everyone had just the one portal, transmitter is designed to integrate function button and front and rear command
perfectly with frame.io.
where we could view all the feedback dials. The grip, like the camera, is weather
together and even download the final sealed to work in challenging conditions. In
output. Changes could be marked and addition, Smallrig makes a very useful full
approved exactly on the timeline in cage, which encloses both units and enables
real time, and it actually changed how other accessories to be mounted.
my clients wanted to work. The FT-XH’s wireless features include a
It made post simple and genuinely wired LAN connectivity port, wireless LAN
sped the process up, while allowing to Wi-Fi signal and a USB-C smartphone
everybody to contribute to the final piece. tethering solution for when you’re out

| ADVERTORIAL
works for you. This version, and the

The entire process for connecting to pro one, which will cost you fifteen
the cloud and sending image or video US dollars a month, fit natively inside
files is remarkably straightforward. my copy of Apple FCPX, allowing me
the ability to ingest, cut, and send
in the wild. In addition, up to four links direct to the client while still
X-H2S or X-H2 cameras can use remaining in that software. Even
these connections, allowing them if you don’t want to commit to the
to be controlled through a common grip, I highly recommend giving this
browser for remote recording. portal a go. It’s such a good workflow
The grip is capable of transfer enhancement for the pro.
speeds of up to 600 Mb/s, though I’m When you have an account, you’ll
sure you appreciate that is realistic need to build a project and don’t
only with a wired connection. With the forget to enable C2C connections
Wi-Fi link I found it intuitive to find a (Camera 2 Cloud). Then access the
studio network, add the code and get connection menu on your Fujifilm
straight to work. The grip also held camera and select which of the
and remembered the connections and three connections you want to use.
transfer status when it was powered Once connected a green light will
up and down, something that’s really flash on the grip, and from here it
important. You don’t want to be gets interesting. If you have a good
wasting time reconnecting. connection you can enable the
And if you’re outside, far from camera to send each picture or clip as
a conventional network, there is they are taken, or select the option
USB-C smartphone tethering, which to review and send just the ones you
allows you to bolt your iPhone on choose, using a hot key short cut.
top and connect to a 5G network for In addition, you can choose
maximum portability. Looking beyond the file types that are transferred.
your phone there are other router Obviously, nobody should set out
options, such as the Netgear M1 or to send large ProRes files on a slow
Nighthawk 5G, which could be utilised to mobile connection, so there are sensible
With the Wi-Fi link it’s
offer superior outdoor options. “
intuitive to find a studio
options. You could send proxy files, and
JPEGs instead of RAWs. The choice is yours,
Connection Options dependent on the connection speed you’re
To connect to frame.io you’ll first need an
network, add the code working with. Once sent these files then
account with them, which I’m happy to say and get to work. The grip appear in your frame.io project, where they
you can try for free! You can have two users, remembers connections can go to Capture One for stills or your editor.
two projects and 2GB of storage with the vital And that in essence is what is so appealing
NLE integration. This means you can test the
and transfer status when about the collaboration between Fujifilm
Cloud solution on offer at no cost to see if it powered up or down. ” and frame.io. It can be whatever happens
to suit your workflow. If it’s remote client
The film below explains more about the approvals for a studio shoot you could use it
VIDEO Fujifilm/frame.io collaboration. this way, or even just as wireless tethering. In
journalism it could be sending images as fast
as possible to the publication. Or perhaps it’s
simply redundancy as a backup on a location,
or alternatively an event where multiple
cameras operate and you want to sell prints
quickly without off-loading the cards.
The uses and applications are truly
as diverse and individual as the users
themselves, and I can’t wait to see how this
technology is going to evolve over time.
Personally, it’s a no brainer, from someone
who, up to now, has been perpetually
tripping over my trailing cables!
More information:
❚ fujifilm-x.com/en-gb/lp/fujifilm-
x-frame-io/

Compact and lightweight,
reasonably priced and
borrowing technology
from the more advanced
R6 II, the new Canon EOS
R8 ticks a lot of boxes, but
is there enough onboard
to tempt the pro?
TESTED
Canon EOS R8 WORDS & IMAGES ANDY KRUCZEK
EGULAR READERS might already that familiar, solid, Canon feel. Robust, increases the height of the camera, and
R be aware that in my own

photographic practice I mainly
shoot with Fujifilm cameras. I
made the decision to move to a mirrorless
yet comfortable in the hand, with a well-
considered layout and utilising simple,
clearly labelled controls, its relatively
compact size is ideal for the photographer
helps to improve its handling.
The R8 comes with just a single SD
card slot, which supports UHS-II. Since
the camera is capable of a very impressive
system in 2018 and, back then, Canon who’s on the move. There is no external 40fps and 4K 60p video, I’d recommend
had yet to dive into that particular pond, battery grip, so those with bigger hands getting good quality, V90 high-
although the move was imminent. might also want to consider adding the speed cards for it. The battery
Five years is a long time in photography Canon extension grip EG-E1, employed by the EOS R8 is the
and, since that time, Canon has made huge priced at £84, which same LP-E17 unit that’s found in
strides with its R system, adding numerous the EOS RP. This tiny lithium-Ion
bodies along with highly-rated and freshly The diminutive LP-E17 1040 mAh cell delivers around 300
designed R-Series lenses. I have to admit battery next to an AA shots, or about an hour of video on
that I was particularly interested to have battery. It’s small! a full charge, which isn’t actually a
the chance to test out the latest model to
join the EOS R family, the R8, since, prior
to my move across to Fujifilm, I had been
a long time Canon user. Should I have
remained true to Canon and waited a little
longer before making the leap I wondered?
Perhaps this was a chance to find out.
Launched in February this year, the
EOS R8, carrying a street price of £1699
body only, is the eighth full frame R series
camera to be launched by Canon, and it
borrows heavily from both the 2019 EOS
RP, with a body design that’s very similar,
and the higher-end 2022 EOS R6 Mark II,
with which it shares much of its internal
technology. This combination of form and
function comes with the potential to make
the new R8 an ideal entry point into the
world of full frame mirrorless photography.
Weighing just 461g with battery and
SD card, the lightweight EOS R8 still has

CANON EOS R8 | TESTED
Shallow depth of field is

a classic advantage of
35mm full frame sensors.
huge amount. At the time of writing extra experience is smooth and detailed enough touchscreen or the D-pad must be used
batteries cost around £45 each, so factor in for everyday use. Personally, I found it to be for this function. Coming from Fujifilm
a couple of spares if you intend to use this very usable, bright and clear. cameras I found this to be something of a
camera as a professional tool. Both the EOS R8 and R6 Mark II share the learning curve, but one soon gets used to
Once again, in common with the earlier same, fully articulated, 3in, 1.62 million dot, operating the camera in this way, and it’s
EOS RP, the Canon EOS R8 uses a 0.39 LCD touchscreen and, operationally, this is fast and responsive. The on-screen menu
inch, 2.36 million dot 0.7x magnification, a delight to use. The lack of an AF joystick holds no surprises for seasoned Canon
OLED viewfinder. Compared to the 0.5 inch to control the position of the focusing users, and for those new to the system it’s
3.69 million dot viewfinder of the EOS R6 point on the EOS R8 means that either the clearly laid out and intuitive.
Mark II, this might seem a little below par
perhaps, but as both units have Compact and Lightweight
a 120Hz frame rate, in practical By taking its design cues for the
terms the viewfinder body of the EOS R8 from the EOS
RP, Canon has created a camera
The Canon EOS R8, that’s small, light and easy to
together with the use. For anyone looking for an
bundled RF 24-50mm entry point into the Canon R
lens, is an ideal entry to
system, or for a second body,
the world of Canon EOS
mirrorless photography. the small compromises I’ve just
outlined shouldn’t be a deal ›

TESTED | CANON EOS R8
breaker but, of course, the real test of the

camera is how it performs its tasks of taking
photographs and creating video footage.
And here is where we see the influence of
the crossover with the technology to be
found in the EOS R6 Mark II.
Both the R8 and the R6 Mark II employ
a full frame 24.2MP sensor, delivering a
pixel pitch of around 6.0microns, which
is huge in modern digital photography
terms, allowing the camera to perform
admirably in low light situations. With
sensitivity ranging from ISO 100 to ISO
102400 (expandable to ISO 204800), the
sensor is an ideal balance of detail, speed
and performance. After recently carrying
out reviews of the 100MP Hasselblad X2D
and 40MP Fujifilm X-T5, I appreciated
the ease with which I could transfer, store
and process the files from the EOS R8, and
perhaps I’ve come to realise that, for a large
proportion of my work, those larger file The new Canon EOS R8 is a lightweight
The camera features a nice and simple
sizes are simply overkill. at just 461g body only, which will make it
top plate , and the fully articulated 3in
The EOS R8 also shares the same Digic X
attractive to those who travel regularly.
touchcreen adds useful flexibility.
processor as the R6 Mark II and, indeed,
the high-end £6000 R3, which means
that the internal signal
processing of the R8
SPECIFICATIONS
produces the same Canon EOS R8
level of performance
as its illustrious SENSOR: CMOS Full Frame 24MP
stablemates. PROCESSOR: Digic X
The sensor is
ISO RANGE: 100-102,400, can be boosted to
neither backside
50-204,800
illuminated (BSI) nor
stacked but, in keeping LCD SCREEN: 3in touchscreen, fully
articulated, 1,620,000 screen dots
with its form factor,
single card slot and EVF: 2.36 million dots
small capacity battery, the
SHUTTER SPEEDS: 30sec to 1/4000sec,
EOS R8 has been optimised by Canon so Interestingly, and unlike the R6 Mark 1/16000sec (electronic)
that none of the essential components will II, the EOS R8 doesn’t have a fully manual
struggle to perform. Oversampled 6K video shutter: first curtain electronic and fully AF: Dual Pixel CMOS AF II
data can be saved as 4K footage at 60p, or electronic are the only options. In first AF TRACKING: Humans (eyes, face, head,
the camera can shoot 1080 HD at 180p. For curtain electronic shutter mode, the body), Animals (dogs, cats, birds and horses)
or Vehicles (racing cars or motor bikes,
stills, the shutter tops out at 1/4000sec in shutter is surprisingly loud so, in situations
aircraft and trains)
electronic first curtain mode, or 1/16000sec where being discreet is important, being
in full electronic mode. able to use the camera’s fully electronic CONTINUOUS DRIVE: 6fps
The reason most manufacturers mode will certainly be an advantage. WI-FI: 2.46GHz built in
implement first curtain electronic In fully electronic shutter mode the
shutter technology is that it reduces camera is capable of shooting at an VIDEO: up to 4K 60p/Full HD 180p
‘shutter shock’, which helps the Internal astonishing 40fps while, in first curtain MEMORY CARD: one SD UHS-II slot
Body Stabilisation System (IBIS) reduce mode, this is reduced to a still very capable
shake. But the EOS R8 doesn’t feature 6fps. At that 6fps the camera can record METERING MODES: Multi/Centre-Weighted/
Spot/Partial
IBIS technology, so I can only surmise around ninety-six RAW images in a burst
that adopting it for this camera benefits before slowing down, but in compressed WEATHER RESISTANT: yes
shake reduction in non-IBIS cameras too. RAW or JPEG the camera is good for a
BATTERY: LP-E17
However, the EOS R8 does have electronic thousand images or more.
movie stabilisation (with a slight crop), and Shooting a burst of images in fully WEIGHT: (including batteries): 461g
can, of course, utilise the functionality of electronic mode drops the number of RAW DIMENSIONS: 133x86x70mm
Canon’s stabilised range of lenses. images recorded to around fifty-one, and

“ The autofocus system of the EOS R8 is the same as that found in both the
R6 Mark II and the much more expensive R3. Needless to say, it performs
excellently, and the AF sticks efficiently to a subject and tracks well. ”
in compressed RAW that number increases In terms of connectivity,
to around a hundred. The EOS R8 is also videographers are well catered
capable of pre-recording a sequence for, with micro HDMI,
of images for half a second before separate microphone and
the shutter is fully depressed, headphone sockets, built-in
making sure that in burst mode the stereo microphones and a
important action is never missed. clever multifunction hot
shoe that allows the camera
Focusing Performance to be connected to a variety
The autofocus system of the EOS of accessories, such as XLR
R8 is the same as that found in inputs and wireless audio.
both the R6 Mark II and the much The camera can record in
more expensive R3. Needless to 4.2.0 8-bit, 4.2.2 10-bit and
say, it performs excellently. The Canon C.Log3, which helps
AF sticks efficiently to the subject to increase the dynamic
and tracks well, using an improved range that’s available.
deep learning engine, and it’s easy to set There is no record limit, but bear
A well laid out and easy to
up and control. With custom algorithms for in mind that the battery will limit the
navigate interface is the
a variety of subjects (Humans; eye, face, hallmark of a Canon camera. available recording time. A function new to
head, body, Animals; dogs, cats, birds and the EOS R8 is its ability to hold focus if the
horses or Vehicles; racing cars or motor extra menu function that allows the user to object moves out of the AF Tracking area,
bikes, aircraft and trains) there is very cycle through the subjects - such as faces meaning that the camera is less likely to
little to criticise. When shooting groups in a group - by simply tapping on the LCD switch focus to the background just when
with subject detect switched on, the lack screen. It’s a clever arrangement, as long as you don’t want it to. Unlike the R6 Mark
of an AF joystick is compensated for by an you remember to have it switched on. II, the R8 doesn’t support external RAW ›

TESTED | CANON EOS R8
recording but, despite this, it manages to

punch above its weight in terms of video
production and, at this price point, it’s
certainly one of the better cameras that’s
currently available for the professional.
In the studio with my model Sophie,
make-up artist Yuliana and Dolly the dog,
I shot around 320 frames, simultaneously
recording in both uncompressed RAW and
JPEG before a flashing red symbol told me
the battery was ready for recharging.
Fully recharging the battery with the
supplied charger - unusual these days, but
very welcome - takes about two hours in
total, but a quick 30-min cycle while we
changed over make-up and clothes allowed
me to nip outside the studio and to quickly
capture about another 150 frames. The Canon 24 megapixel sensor
produces excellent quality.
Canon Kit Lens
For the review, I was supplied with the RF
24-50 f/4.5-6.3 IS STM lens. This camera
and lens combination is available as a
kit, priced at £1899, while the lens on its
own would cost £379, so there’s a decent
saving of £179 to be made there. This lens
is specifically designed to be a lightweight
and compact travel companion for the
camera and, as such, it has a feature
where it has to be engaged by twisting the
barrel. This extends the lens and aligns its
elements before any shots can be taken.
While 24-70mm isn’t perhaps the ideal
focal length for portraiture, I still managed
to achieve some perfectly acceptable
images. The advantages of the Canon EOS
R8 being a full frame camera are that wide
lenses remain wide, and the depth of field I’d love to know the
at a given aperture is smaller, creating history of this Bentley.
a more pleasing effect for most portrait
situations. This is often referred to as
the ‘full-frame advantage,’ and it means Collapsed for travel
or extended for use,
that less demanding lens designs can be
the EOS RF 24-50
used, while the more expensive f4.5-6.3 IS STM lens
glass with wider apertures is a very usable
can produce even more compact lightweight
exaggerated effects. standard zoom.
Not surprisingly the 24MP
sensor produced admirable
results, with a dynamic
range that allowed me to
pull and push the highlights
and shadows in post
and change the colour
temperature with ease.
This came in very handy
for my 3am travails
around the mean streets
of the West Midlands
looking for something

Mounting the EOS R8

on a tripod gave me
the opportunity to take
evocative night shots
of this characterful
classic car.
to photograph. The Bentley I chanced enable the creation of a cleaner image.

“ A tripod-mounted upon belongs to a guy not far from where That’s a system that works very well
camera allowed me I live. I photographed his Mercedes (in and, in my shots of the petrol station, I
to shoot exposures the background) for another review, and
one day I must knock on his door and say
could clearly see the stars in the sky, while
the features of the building were
several seconds thanks, but at 3am perhaps not! rendered clean, crisp and full of detail.
long, as I wanted A tripod-mounted camera allowed me to
shoot exposures several seconds long, as I More information:
to explore the low wanted to explore the low light capabilities ❚ canon.co.uk
light capabilities of the camera. It didn’t disappoint. The ❚ andykruczek.com
camera appears to shoot a ‘dark frame’ in Image credits
of the camera. It which, following the main exposure, the ❚ Model: Sophie Suzanne
didn’t disappoint, shutter closes and the camera performs a @sophiesuzanne_x
and you get a very second exposure for the same amount of ❚ Make up: Yuliana Jones
time. The noise in this ‘dark frame’ is then @yuliana_ jones_mua
clean image. ” subtracted from the main exposure to ❚ With grateful thanks to Dolly the dog
VERDICT
RETURNING TO A Canon camera after all happens to be a hybrid mix of stills-based many photographers a relatively affordable
these years was a delightful experience, photography and videography, the camera option that will produce high-quality
and I have to say that the EOS R8 will produce excellent results, even if you results or supplement their existing kit.
performed admirably. I particularly liked it might be intending to use it from a high- So, did I make a mistake in moving across
for its familiarity, and it quickly became an end professional standpoint. to Fujifilm all those years ago? I have to say
easy and comfortable tool to work with. Of course, this being Canon there are that the jury is still out on that particular
For anyone looking to enter the plenty of options across the R-range these one, but the EOS R8 has for certain made
world of full frame Canon mirrorless days, and this is the real strength of a me want to take a further look at Canon’s
photography and for those looking for camera such as the R8. It complements the rapidly expanding R-System mirrorless
a capable, likeable back-up camera, the rest of the EOS R range and slots in brilliantly family and, for those already invested in the
EOS R8 is the perfect tool. If your work amongst its wide array of products, giving system, the future looks very bright indeed.

PRO GEAR: LIGHTING SPECIAL
Professional
Lighting Our dedicated lighting section is focusing
on some of the latest pro-minded hybrid
kit, from Aputure, Zhiyun, Nanlite and
Hobolite, plus some exciting battery
options just announced by Core.
WORDS & IMAGES ADAM DUCKWORTH
F YOU’RE A HYBRID image-maker, ever are now happy to be working with PUTURE IS ONE of the market
I shooting stills as well as video,

then it makes sense to light once
and shoot twice. And for that,
higher ISOs and lower shutter speeds.
When choosing LED lights, there’s a
lot to consider. The most popular type in
A leaders in affordable LED lighting,
since the company not only offers
a huge range of reliable lights across a
constant LED lighting is the only way to recent times is the ‘Chip on Board,’ or COB variety of different styles and sizes, but
go. It also provides a handy ‘What You See variety, which uses lots of tiny LED chips is also pushing the boundaries of what
Is What You Get’ advantage, where you bonded closely together to form a smaller, lighting technology is actually capable of.
can rely on your camera’s screen to give single light-emitting module. And that’s certainly the case with
you a decent representation of what the These are the most powerful LED units the LS 600C Pro which, while carrying
final shot is likely to look like. out there and, as the actual LED is small, a £2450 price tag, justifies its sizeable
Of course, constant light is the only they behave like a punchy, hard, single- cost by being one of the brightest, full-
way to shoot video. And it used to be flash point light source. This makes them colour, point light sources currently on
that ruled supreme for stills in pretty ideal for use with softboxes, fresnels or the market. While the brand was the first
much everything, apart from high-end projector attachments and gobos. Many to offer a 1200 Watt LED, with double the
fashion or food shoots, where large and also come in full-colour RGBWW versions. power, this is much bigger, heavier and
very expensive HMI lights were the only Alternatively, the smaller form factor more expensive at £3230 and, crucially,
way to go for constant lighting. and softness of a conventional LED light it’s only daylight balanced.
Tungsten heads and Kino-Flo tubes panel might be something you need,
might have been cheaper, but tungsten despite most only being balanced for
gets red hot, Kinos are easy to break and daylight or daylight and tungsten. In
neither are particularly powerful. They many cases, LEDs can be run off mains
can also flicker, which is a nightmare for power or can use internal, rechargeable
the likes of video and electronic shutters. batteries, or can accept standard video-
These days far more rugged LED style cells such as NP-F or V-Mount.
lighting has taken over, since it can We’ve tested out a selection of the
be bright, runs far cooler and delivers latest LED lighting fixtures to arrive on
consistent colour. They don’t flicker, the market, all of which are capable
and come in daylight, bi-colour or even of delivering a high-end professional
full-spectrum RGBWW, and often can performance, and we’re also looking at
be controlled wirelessly via Wi-Fi or some exceptional new power options
Bluetooth. And with cameras offering from battery specialist Core, which will
amazing performance in lower light, and allow you the flexibility to work with your
often boasting incredible built-in image lighting if you’re on location and far away
stabilisation, more professionals than from regular mains sources.

LIGHTING SPECIAL | PRO GEAR
Aputure LS 600C
The Aputure LS600C allows
£2450 | aputure.com the user to dial in any colour
you like, since it utilises a highly
By contrast, the LS 600C Pro lets you flexible RGBWW COB chipset.
dial in any colour you like, as it uses an
RGBWW COB chipset, which offers red,
green, blue and both warm and cool
Despite its high performance, the
white chips. It’s also more portable and
new light from Aputure fits neatly
easier to rig up yourself into its bespoke case and weighs
compared to the 1200D in at a highly manageable 14.4Kg.
version which, with all its
accessories in its case, using a 48V, 3-pin XLR DC input.
weighs in at 27.25kg, Another plus point when you
against the LS 600C’s come to use the outfit on location
more manageable 14.4kg. is the fact that the whole kit is
You need never have designed to be weather-resistant,
to use gels again, since, with a rugged, aluminium build.
by using the menus and There’s also a fan on board to keep
screen on the unit’s things cool, which is very quiet,
power pack, it’s easy although not totally silent. It is
to set any RGB colours possible to turn the fan speed down
you fancy, with more than 300 gel in the menu to minimise distractions,
pre-sets. Alternatively you can work in the but it can’t be totally turned off.
advanced Hue, Saturation and Intensity For ease of use the control box has a
mode, where you will have full control of large colour LCD panel and easy control
the white point and colours. buttons, while you can also use one of
If you’re just looking for accurate white the ten pre-sets on board, which you can
light, then you can select CCT mode, where assign. There’s also a large Select dial,
the range of colour temperatures available which helps you to quickly scroll through
stretches from 2300-10,000K, with fully intensity or colour temperatures.
tuneable green/ magenta adjustment. You can also change settings using
This is highly accurate, your smartphone, using
even at very low Kelvin Aputure’s free Sidus Link
temperatures, which is app. This clever feature
where many COB lights turns every Aputure LED
can struggle. It also you own into a wireless
offers an impressive CRI node, which will then
of 95+ and TLCI of 98+, re-transmit the signal up to
proving its accuracy. 400m away to link multiple
The whole kit comes inside a custom, lights together on your set.
rolling soft case, with a long mains power For creative filmmaking,
cable and a 7.5m connection cable to join the 600C has built-in lighting
the head to the power unit. The unit comes SFX, such as paparazzi,
with a clamp that fastens to a light stand, lightning, faulty bulb,
and the power control unit clicks TV, pulse, flash, and
neatly into this, keeping things tidy. explosion while,
The pack is designed to work off for those looking
mains power, but if you want to use to modify the light, VERDICT
it on location it features a pair of V-mount Aputure offers a range THIS IS A HIGH-END pro-focused light
battery slots. When two 14.4V/ 15A of different reflectors, with loads of power, all the colours
batteries are used, the light will run at a softboxes, lanterns, fresnels you could want, easy connectivity and,
maximum of half output. Fit larger 26V/ and more. Best of all, the light from a pro kit perspective, it’s actually
19A or 28.8V/ 16A batteries, however, has a standard Bowens mount, relatively affordable. If you’re a hybrid
and you’ll be able to work at full power. so you can buy into a huge operator who’s regularly shooting
The pack also accepts power from block range of modifiers from a wide both still images and video, this could
batteries or external power stations selection of manufacturers. be the ideal do-it-all light.
›

PRO GEAR | LIGHTING SPECIAL
Zhiyun Molus COB range

From £219 | zhiyun-tech.com
BVIOUSLY NOT content with
O disrupting the world of motorised

gimbals with its wide range of
highly affordable kits, Zhiyun’s expansion
The innovative new
Molus lights from Zhiyun
are re-writing this sector,
with ultra powerful
into lighting has been gathering pace output while remaining
lately with some impressive and slightly super compact.
left-field launches. Hot on the heels of the
Fiveray F100 RGB LED light stick, which
effectively mixed consumer-style styling
and pricing with an impressively high-end
performance, and the remarkable palm-
sized M40 40W LED fill light, comes the
exciting new Molus COB range.
While the two lights in the new line-up
might both be termed Molus models, they
are just about as different as it’s possible
to get in terms of body design and styling.
The smaller of them, the Molus G60,
weighs just 300g and is roughly the same
size as a Rubik’s Cube. Despite its tiny
body, it offers up to 60W of power, with a
colour CCT range of 2700-6500K. It’s also
highly accurate, with a CRI of ≥96 and
TLCI of ≥97, and it’s a flexible piece of kit,
which can be run off the mains or via the
“ Both the G60 and
USB-C socket using PD technology.
By way of contrast the Molus X100
X100 can be controlled
is about the same size and shape as a via Bluetooth using
computer hard drive, with a COB chipset the free Zy Vega app,
on the front and a fan and small screen on
the back. The kit comes in a fitted case –
and they each offer a
as does the G60 – but includes a battery very simple set-up,
that clips onto the side and works as a grip where you use two
to hand-hold the light. This does make the
unit heavier on one side, but it’s not a big dials to adjust colour
issue in reality. The LED can be powered temperature and
by this rechargeable battery/grip, or by
the mains adapter, with the grip still
brightness. ”
attached or removed to make it smaller 100W fixtures do have their uses, certainly
still. Like its sibling, the X100 also in filmmaking or in low-light stills work.
accepts PD fast charge. With a full While you’re not going to be lighting up
battery, the X100 can be used on full a huge scene from a great distance, or
power for around half an hour. working with massive softboxes, units such
Delivering a full 100W of output, as these can still have a crucial role to play
the X100 weighs in at only 385g, and at times when ambient lighting might be low
offers a CCT range from 2700-6500K, and you want to retain production values.
2376 lux of brightness and a CRI ≥95 At a wedding, for example, their
and TLCI ≥97. Even when you add the portability and light weight could pay
battery grip the weight is still only 439g. dividends, or they could also come into their
While the new Molus lights aren’t own if you’re shooting portraits and want
intended to be competitors to the mighty to use a wide aperture for a shallow depth
Aputure LS 600C Pro in terms of size, of field. They are also ideal for fill lights,
Zhiyun Molus G60
power, spec and price, both 60W and hair lights or just picking out details in a

Tap here to watch Zhiyun’s LIGHTING SPECIAL | PRO GEAR
introductory film for the
two new Molus lights.
Zhiyun Molus X100
scene, while they could also be case and one of the coolest mini
used up close in conjunction with softboxes I’ve ever encountered,
a softbox when filming talking which just springs into full
head interviews. Because of their size in an instant and bayonets
diminutive size, they could also on the front of the light. It also
come in useful for situations where comes with a tiny fabric grid to
you might want to tuck a light away stop the light spilling around.
in a small space, such as inside a car. The larger X00 costs £269 for
the standard kit, which is just
Similar Specs the light and reflector, power
Instead of focusing on the differences brick and its soft pouch plus a neck
in terms of form factor between the two softbox or lantern strap. The £369 Combo kit adds the
lights, it might be more constructive to would be ideal. Meanwhile carry case, the battery/ grip and Bowens
consider their similarities. Both the G60 and their tiny size and low weight means they adapter, or you could splash out £419 for
X100 can be controlled via Bluetooth using are highly adaptable in terms of how they the Pro kit, which then adds the softbox
the free Zy Vega app, and they each offer a can be used. They can he hand held of and grid to the line-up.
very simple set-up, where you can use just course, while Zhiyun supplies the G60 with Optional accessories include a larger
the two dials to adjust colour temperature a mini tripod, and a larger one is available reflector with a soft rubber dome diffuser,
and brightness. for the X100 as an extra. which works like a mini lantern to spread
In terms of heat, Recommended soft light everywhere. Other useful ZY-
both lights will get accessories include mount modifiers that will be on sale soon
warm during longer a long handle, include a lantern softbox, larger parabolic
sessions, but they which resembles boxes and different reflectors.
have built in fans a selfie stick
to keep everything except for the
cool. These are very light taking VERDICT
quiet, but you can’t turn up the position WHAT’S REALLY COOL about these
them off, so you still need to be usually occupied by a lights is not only their tiny size, but
aware if you’re planning to set smartphone. also their unique style. Zhiyun says the
them up somewhere that’s close The G60 costs just £219 for the X100 has a vintage-style, fashionable
to your mic positions. standard set-up, which includes the design that’s so thin you can keep
The lights both utilise Zhiyun’s head, power brick, a reflector and a it in your pocket. Team that up with
own accessory mount, but an flexible rubber dome cover to soften the boxy but palm-sized G60 and the
optional Bowens mount adapter is the light. But for just £269 for the super-cute mini softbox and, if style is
available if you want to use full-size Combo kit, you also get a Bowens your thing, you’re on to a winner with
modifiers. Fitting anything too large adapter, mini tripod, a soft carrying this pair. And they both happen to work
is a tad optimistic perhaps, but a small pouch for the power adapter, a fitted exceptionally well, too.
›

Core Apex 360 Power System

Core Renegade Series Mobile Power Station
Core Apex 360 from £1390 | Core Renegade Series from £5086.94 | coreswx.com
HE LATEST professional lighting
T LED lighting requires cutting edge

power solutions, and Core SWX is at
the forefront of innovative design. The two
latest products from the company have
specific lighting applications, and both
come with the potential to make it easier
for the professional to work with their
lights for stills or filmmaking productions,
however challenging the location they’re
working in might happen to be.
Available from CVP for £1390.70 for a
2x battery starter kit and charger, Core’s
Apex battery packs were unveiled at the
end of last year, and they’re touted as being
the ideal solution when working with high
power LED lighting. The Apex packs offer
a 367wh Lithium Ion V-Mount solution,
which is capable of outputting up to 24A
continuously, as well as providing extended
runtimes if required for a production.
The new Apex batteries are a long way
from being the average V Mount battery
pack however. For a start their uniquely
designed rugged housing is comprised of
a reinforced polycarbonate outer shell to
sustain the rigours of production while,
for security, the pack’s inner cell structure
ensures the cells are firmly secured in the
event of the pack being dropped.
Meanwhile the pack’s multi-sided LED
gauge can be viewed from both sides, as
well as in front of, and behind, the lighting
ballast when connected. Whether on
charge or in use, the gauge will illuminate
and, with a line of sight of the pack even
from a distance, you’ll be able to tell conjunction with 14v lights Core’s
The Apex packs from
how much power is remaining. Core SWX are designed to patented Helix system pin comes to
The Apex packs are offered in partner the Aputure 600. the rescue to prevent damage.
both a 14.8v pack suitable for The new Apex batteries are also
most lights, as well as a higher designed to work in conjunction with
voltage 29.6v variant, which the Aputure 600-series lights, with
is capable of delivering even Core’s Direct Connect plates available
more power under lower current to replace the V Mount plates to
requirements, allowing for more enable the HV batteries to be utilised.
efficient and cooler operation These require minimum technical
of LED lights. With further high skill to connect and still allow the 14v
voltage LED lighting products mount packs to be used if required.
continuing to be released, the Meanwhile Core SWX also unveiled
Apex HV version is effectively the Renegade Series Mobile Power
providing future proofing, while Stations at the recent NAB Show,
if it’s inadvertently used in and both the Renegade and Renegade

Tap here to watch an introductory LIGHTING SPECIAL | PRO GEAR
film about the new Apex battery
line from Core SWX.
XL variants deliver high-capacity, high-

current outputs using lithium-based power
solutions for cinema and lighting gear.
Equipped with 777Wh internal Lithium
Iron Phosphate cell chemistry, the
Renegade Power Station can deliver multi-
voltage power via XLR and powerCON
connections, with a maximum load of 20A.
Two 4-pin XLR connections offer 15V of
regulated power output, two 3-pin XLRs
provide 28V, and a single powerCON port
will output a regulated 48V.
The XL and XL 48 are designed to deliver
heavy duty power, and both are constructed
with Lithium-Ion cells and have a capacity
The new Renegade Series from Core SWX
of 1376Wh. Where they differ is in their
delivers high-capacity, high-current
output using lithium-based power. respective output connections; the XL
offers diverse ports for general Both XL models include additional
cinema equipment, while the XL 48 D-Tap and USB ports to power peripheral
offers only powerCON connections, accessories or provide firmware updates to
with two of these delivering an the unit, while it’s possible to daisy chain
impressive 48v, 30A total output. multiple Renegade XL units together to
Specifically tailored for lighting, the extend runtimes and power capabilities for
XL 48 has the capability to power larger scale productions.
even the most demanding high- Cost of the Renegade XL 48 will be
power LED lights out on location £5086.94 from CVP, and it’s expected to be
without breaking a sweat. available later this month. ›
Nanlite Forza Range

From £300 | nanlite.co.uk
HILE IT’S ALWAYS useful to high-tech and useful pro features. price point. They are ideal for use
W have lots of power on tap

when it comes to lighting,
there’s still a lot to be said for smaller
Nanlite’s newest Forza range of
small COB LEDs might only offer 60W
of power, which perhaps doesn’t sound
with medium-size modifiers and, as
long as you’re not trying to battle the
sun outside on a cloudless day, they
LED fixtures that are more portable, so exciting, but they make it for it in their can offer power that’s suitable for
less of a strain to carry and set up modest size, battery and mains power most studio or location photography,
and yet still come packed with lots of options, coupled with a highly affordable together with filmmaking gigs.
Nanlight Forza 60C

THE STAR OF the fresh line-up is the
Nanlite Forza 60C, since it takes colour
control to a whole new level. There
is already a plethora of daylight or
bi-colour LED lamps on the market,
as well as RGB and RGBWW lights,
but now lights such as the Forza 60C
offer RGBLAC, which adds lime, amber
and cyan to the mix to offer a wider
colour range, more accurate colour
reproduction and a subtler light quality. to 5600K daylight. This 60C comes with a
The £677 Nanlite Forza 60C is one of the battery handgrip with dual mounts, enabling
most affordable of these cutting-edge the use of the popular and inexpensive Sony
new units to reach the market, and it’s NP-F type batteries on location. If you have
well worth taking a closer look at. V-mount batteries, these can also be used,
With a maximum total power rating as there is a D-tap socket provided.
of 88W, the fixture is more expensive The lamp head is so small that it’s not
when compared to other similarly- big enough to use with full-size Bowens
powerful COB lights, but this is due to the accessories, so it comes with Nanlite’s
complex technology that’s been carefully smaller FM bayonet mount and a 45-degree
designed to provide even illumination. reflector. Nanlite sells various FM-fit
The power of each LED bead has been modifiers, but if you want to use standard VERDICT
calibrated to ensure the light has a 60W Bowens modifiers then the kit comes with IN USE, THE light offers every colour
power draw for all colours, and this helps an adapter. This sits on top of a light stand, you can dream of, as well as all flavours
to ensure that the colour will remain with the light fitted to the rear and a Bowens of white. But if you put it through a
accurate right across the light. modifier on the front, meaning the adapter large modifier such as a parabolic
This 60C offers an excellent CRI of takes the strain instead of the light fixture. softbox, with two layers of diffusion
96 and average TLCI of 95, and the CCT The light housing is made from aluminium and a grid on the front, then chances
range is staggeringly wide at 1800- and there’s a near-silent cooling fan. are you’ll be struggling for power. It’s
20,000K. This lets you go really warm Settings can be adjusted from the on- better to stick to smaller modifiers.
– think candle-light - or crisp and white, board screen and control buttons or you can But we tried it with a 120cm
which would be ideal download the free Nanlink app, parabolic softbox with a single layer
for scientific use. The which works via dual built-in of diffusion and it worked well, with
temperature is set using 2.4G and Bluetooth modules. not too much fall-off at the edges.
a dial on the rear panel, The brightness can be altered When used in CCT or colour mode,
right next to a second dial from 0-100% in 0.1 increments. the evenness of the lighting is very
that sets intensity. You can set a selection impressive. If you think you’ll be able
The light head is just of SFX features, and to manage with a relatively modest
224x110x88mm and there is also built-in DMX/ power output then you will love
weighs 1.1kg, but it can RDM functionality for remote the Forza 60C, since it’s a stunning
put out 12,810 Lux from control, provided via wireless performer without any real market
a metre away when set or a simple plug-in cable. competition at the moment.

Nanlight Forza 60B II

THE COMPACT Forza 60B II is the second-
generation light that shares many features
of the 60C, except that it’s bi-colour and
comes in at around half the price. The
Mark II version now has a locking DMX
remote control port, built-in Bluetooth for
wireless control with the mobile app, a
quieter built-in fan and a 45° mini reflector.
Like the 60C, it comes in a padded case
with full-size Bowens adapter, battery grip
to take NP-F or V-mount batteries and a
mains adapter with a 3m lead. The 60B II a simple LED menu system, and two dials
has more special effects than the original on the rear. If you long-press the right dial
but, not being full colour, these aren’t the settings are locked, saving any danger of
particularly realistic. The Flash, Paparazzi, unwanted accidental changes taking place.
Storm and Welding effects The CCT range is 2700-
are all OK though. 6500K which is useful,
The 60B II now has the especially at the warmer
same Max Output and end. And the output
Constant Output modes is dimmable in 1%
found on the high-end increments from 100-0%.
Forza 720B. It’s a steal at The colour is accurate VERDICT
just £342, and there is a and there’s no flicker, the THIS IS A GREAT upgrade to the older
daylight-only version for fan is quiet and can be turned model, keeping the light quality
£300. Control via the app is off, and the build quality is and power while adding upgrades to
simple, and the head itself has really good for the price. make it even better value.
The Lightbulb Moment

IF YOU’VE EVER looked at high-end film sets light sources or can act as or via USB Type-C DC, by
and wondered how the household bulbs ‘practical’ lights that are attaching its own magnetic
seem to perfectly match the scene, then fully-adjustable, tunable mount adapter, battery
wonder no further. The standard bulbs are and non-flickering. If you’re adapter or wired controller.
removed and replaced with controllable LED shooting interiors for stills It’s also lighter than some
bulbs. They can be used as small, portable or video, they could work rivals, but that’s because it
wonders for you as well. doesn’t have its own internal
The new £75 PavoBulb 10C battery. The USB port can,
is an RGBWW bulb light that fits however, accept a USB-C to DMX
into a standard screw-in household cable, to give you full DMX control.
bulb fixture, and you’re able to adjust White light, colour temperature,
the colour temperature or hue via the green-to-magenta shift and intensity
built-in buttons on the light or by using adjustment can all be controlled using
the handy Nanlink App. the three small buttons on the body of
Weighing only 170g, the PavoBulb I0C the bulb light, or adjusted via built-in
features a bi-colour CCT range of 2700- Bluetooth, again with the app.
7500K, a CRI of 95 and a TLCI of 97, with The bulbs are useful as hidden lights
36,000 colours, and 15 customisable special that can be used to create interesting
effects. The dome of the PavoBulb I0C is pools of light in any colour you like. Or
designed to diffuse the light, and the beam you can even use them up close for a
angle can be adjusted with the Bouncer tight headshot if you want, since the light
Suction Cup accessory, which features an is relatively soft. With lots of different
aperture that gives fine control over spill. control methods available, they’re a
The PavoBulb I0C can be powered useful addition to your kit that will help to
directly by the E27 socket’s mains input solve location lighting problems.
›

Hobolite Pro Creator Kit

£2999 | hobolite.com True to its style credentials, the Hobolite comes
packed in a swanky designer case, and is a
F YOU’RE A fashion-conscious
I photographer, maybe with a trendy

studio in a fancy warehouse loft,
and you’re looking to add a constant light
product that can do a job while turning heads.
source to your arsenal of kit, then look no

further than the Hobolite Pro. It’s about as
far away as you can get from all the bland,
black box LED lights you’ll encounter on
the market, with faux leather sides and an
all-aluminium construction that simply
oozes quality and luxury.
But it’s definitely not style over
substance, as the Hobolite Pro boasts
much of the latest technology, with some from £1999. With this standard kit, you get tripod light stand and a 90cm softbox with
genuinely innovative features that make the head, a Pro lens, Pro barndoors with removable internal extra diffuser and a
it a step ahead of many of its rivals. For honeycomb grid, a V-mount clamp, a power honeycomb grid. So, your extra cash gets
starters, it’s a bi-colour COB LED, packing supply with dual V-mount plates, all the you some ultra cool accessories that are
300W of power, and it comes with app cables and an LCD control panel. For £2299 perfectly matched to the light, and actually
control and can output light from 2500- you can get a kit that includes two 85Wh this outfit offers good value when you see
7500K, with a CRI and TLCI rating of 96. V-mount batteries and a DC battery charger, what you get and the quality on offer.
That performance makes it suitable and for the pro this is a good deal.
for filmmaking, as it’s powerful enough We tried out the Pro Creator Kit AC/ Accessory Line-Up
to use, even paired with very large DC, which is £2999 and adds a carbon fibre Starting with the accessories, the stand
light modifiers. It’s also ideal for stills comes in a decent case and extends to
shooting, as it’s bright and its output can 310cm yet folds up to a relatively compact
be modified with a large range of Hobolite The Hobolite 80.5cm. It features incredibly well-
might be small
accessories. Incorporated is a standard but it’s powerful,
machined components, and the carbon legs
Bowens S mount, and so it will accept the and nicely self- are top-quality, too. It can take a payload
hundreds of modifiers that are made in contained, with of up to 8kg, so is well within the range of
this fit. But of course, Hobolite would like Dual V-mount the Hobolite Pro plus accessories. Our only
you to use its own range which, of course, plates and an complaint is that the stand doesn’t go down
LCD Control
happens to be super-stylish as well. Panel included.
very low, but that’s the price you pay for a
Everything Hobolite does is retro- solid, well-built unit that goes higher than
styled, and the lights are actually made to 3m. It’s available separately for £499.
look a lot like an old TLR medium format The kit comes with a well-made, floor-
camera: think Rolleiflex. But inside, the standing V-mount battery charger as well
electronics are made by parent company as the main power unit, which takes a pair
AEC Lighting Solutions, which has 20 of included V-mount batteries. Again,
years’ experience of making cutting-edge everything is super stylish, with subtle
LED lights. The company has used all Hobolite branding, as well as being well-
its expertise to make sure the lights are made and functionally superb.
technically excellent, built to last and There’s a V-mount clamp, made from
made from top-quality materials. aircraft-grade aluminium, that mounts
the mains unit to the stand, and once this
The Hobolite Range is fitted the power unit clicks firmly into
There is a range of three products in the place. It’s admirably stable, so you’re never
Hobolite line-up. The 20W Mini runs on worried that it’s going to accidentally come
its own rechargeable battery, costs from loose. A full set of cables, all subtly branded
£298 and weighs 0.43kg, while the 100W of course, is also supplied, and there’s a
Avant is mains powered, but can be used mains pass-through to the power unit, so
with V-mount batteries, and costs from you can plug the unit in while it’s being used
£799 and weighs 1.25kg. The flagship to ensure the batteries are topped up.
Pro is 300W, weights 3.7kg and costs The front of the light has a conventional

COB LED array that works like a point light

source and puts out a flood of light. To
make it more focused, the kit comes with a
45-degree Fresnel lens that attaches via the
Bowens mount. This focuses the beam into
a tighter angle that features a very smooth
fall-off. It’s the sort of look that was so
beloved of photographers in the golden age
of Tinseltown movies. It’s not adjustable,
sadly, but it does tighten the spread of light.
The kit also comes with a set of
barndoors and a honeycomb grid that
fits into a groove around the front of the
light, which works fine but we did manage
to accidentally knock it off twice. When and this is tightened down with a large, thought through. You can change all
used with the grid, this really does give a machined aluminium lever, which is solid the obvious settings, such as intensity
tight beam, making it ideal for a hairlight, and feels a world apart from the plastic and colour temperature, and access
background light or more creative effects. knobs so many other lights come with. some special effects. With the light not
The Bowens mount is used for the quick- On the back of the head is a high-quality being full colour these aren’t the most
assemble 90cm parabolic softbox that detachable LCD control panel. But in a convincing perhaps, though still useful.
comes with the kit, packed in its own case. stroke of genius, this fixes on by magnets, Of course, there is an app to go with
You just push down on the central column, so it’s possible to simply remove it, fix it the system, while the head has the latest
guiding the central rod into its keeper, to the power supply or alternatively use it wireless tech in terms of NFC Tags, which
and it then clicks into place. There’s an handheld for wireless control. makes adding and controlling units a
internal baffle that you can fit using Velcro There could be times when the head really quick and easy process. When you
fasteners, and the front diffuser then fixes might be high up, so you can’t see and tap the side of the head with your phone
on in the same way. The kit also comes with change settings, or controls on the power this installs the Hobolite Control App, so
a honeycomb grid that can be used on the unit might be hard to get to. At times like you can then remotely assign and control
front to stop the spread of light. this the fact you can detach it for remote groups of lights. Simple as that!
With both diffusers in place the quality of operation is a life saver, and it’s just so well Just showing the thought that’s gone
the light is very soft and creamy – into the design, inside the head are fans
ideal for portraits or interviews. There are some which, although super quiet in any case,
Removing the inner diffuser beautifully can be temporarily disabled if you’re
designed
boosts the light output slightly doing video work where audio is hyper
accessories for
and doesn’t hugely affect the the Hobolite, critical, such as in an interview situation.
softness, either. including a set of
So, with a bare LED, barn doors.
fresnel lens, softbox with VERDICT
grid, barn doors and IT’S THE ATTENTION to detail that
honeycomb grid, you really makes the Hobolite Pro such a great
do have a kit that can piece of kit, something that artfully
cope with pretty much combines an excellent level of
everything. Hobolite performance with styling that’s going
The Hobolite
also sells a 65cm app is a really to appeal to those who just love working
lantern for £238. useful extra, with beautifully designed products.
Moving onto the and it makes it For stills or hybrid shooters, or
business end, the simple to add videographers who want an all-in-
and control
gloriously stylish, solid one kit, the Hobolite Pro Creator is a
your lighting.
and well-built head top-quality product that’s classy and
feels like it would last for definitely made to last. It even comes
decades. It comes with a precision in a fitted case with faux leather details
360-degree yoke mount that to prove to the world what a dedicated
attaches to standard light stands, follower of fashion you truly are.

A True
Original
Pro-spec LED continuous lights whose
performance is as beautiful as its looks
is the ethos of Hobolite, and we’re
catching up with CEO and founder
Helena Bian to find out a little more.
S CREATIVE INDIVIDUALS, and humanities, combined with over a decade functional and convenient to use. Winning
A photographers and filmmakers

more than most appreciate the
beautiful things in life, making
it even more of a pleasure when a piece of
of profound knowledge in manufacturing
and raw materials, that has given me the
opportunity to re-design products in a way
that we hope will set them apart from regular
a coveted Red Dot Design Award and the
2022 iF Design Award confirms that the
combination of functionality and aesthetic
beauty we’re achieving has been the right
equipment comes along that not only ticks engineers and manufacturers. way for us to go, and it ties into the 21 awards
every box in terms of performance, but which “I have been able to bring a completely that AEC has achieved over the past few
also happens to be a singularly gorgeous different design aesthetic to products, years, which is a great testimony to the skills
artefact in its own right. Enter the Hobolite, combining artistic beauty with user-friendly of our professional design team.”
a stunningly designed piece of lighting and humanised design, which is both Long before the Hobolite went into
hardware, whose retro-inspired good looks production Helena was putting in the
have been turning heads the world over. necessary legwork behind the scenes,
A thing of beauty
Freshly available in the UK, the interviewing videographers and store owners
while still offering a
Hobolite is a product that so many pro-level standard of to find out more about where the pain points
pros are going to want to be working performance, Helena regarding continuous lighting might happen
with, but what is the story behind this hopes the Hobolite to be, while also establishing the importance
distinctively different piece of kit, and will inspire creatives of portability and mobility.
to new levels.
why has AEC, the long-established “We’ve always tried to keep ourselves
lighting brand that has brought it to as close as possible to our end users,” says
market, taken so much trouble to develop Helena. “That’s long been our philosophy,
something that is so determinedly the and we’ll continue to listen to feedback way
opposite of purely functional? into the future as well. We want to know the
To find out more we caught up with things that our audience either loves or hates,
Hobolite’s CEO and founder Helena Bian and to spend time observing how they go
who, it transpires, is an artist, engineer and about their daily jobs and the ways in which
product designer in her own right. She took they’re likely to be using our products.
over AEC in 2009, and she’s clearly someone “By doing this we began to see a lot
who’s on a mission to ensure that lights are of things that we could do to improve on
not only functional but beautiful as well, what was already out there, and to provide
and the adherence to those values and the creatives with tools that would allow them
considerable attention to detail that’s gone to focus more closely on shooting their
into the Hobolite’s design is there for all to see. productions. And all the time we were intent
“Even as a child I knew that I liked beautiful on making sure that our products were as
things,” remarks Helena. “My subjects at beautiful as possible. Professionals spend
university were mechanics and electronic a huge amount of every day with their gear
engineering, but personally I also spent a lot – more time than they spend with their
of time studying art, photography, painting, best buddies sometimes! – and utilising
architecture and literature. And it’s this something that’s beautiful in their business
combination of things, my engineering we feel has the potential to inspire them to
background, together with my passion for art work even more creatively.”

Tap here to watch the | ADVERTORIAL
Hobolite leadership team
talk about their product.
us creating newer and even more exciting

designs way into the future.”
All the way the input of working
professionals has been key to development,
with those such as US-based videographer
and photographer Michael Miceli, who has
been involved with the brand since 2018,
adding their expertise. Michael is now leading
the development of the Hobolite into the US
and there are also a number of ambassadors
for the brand in different parts of the world.
One of the UK ambassadors is fashion,
wedding and landscape photographer Craig
McDowell, who has been working with the
Innovations such as a
Hobolite for the past three months. “My
detachable rear control
panel that’s held in place by initial introduction to the product came from
magnets bear testimony to the YouTube personality, Joseph D’Agpstino,
intensive design research. who spoke highly of the brand,” he says.
“I was impressed with the build quality
and exceptional attention to detail, and
immediately struck by the opportunity
Retro looks have wide
“appeal, but the Hobolites
to incorporate Hobolites into my work.
Additionally, the thoughtful design features
that are incorporated, such as the magnetic
have to have great filter system, clamps, and tripods, further
functionality as well, they drew my attention to Hobolite products.
can’t just look good. Our “After conducting extensive research
and engaging in direct communication
bottom line has always with Hobolite, I determined that the Mini
been that we can’t sacrifice and Avant products would be deal for my
particular work style. Given that the majority
performance for the sake of my shoots happen to occur on location,
of appearance. ” the size and total portability of the lights are
essential to meet my needs.”
Creating the Light Early days these might be, but already
The design process for the Hobolite was Craig has been hugely impressed with the way
challenging, and sometimes painful for the the Hobolites have performed. “I have had
team. “Many of the details were discussed, the opportunity to use them on numerous
designed, made and then turned around, large-scale fashion photography projects,”
again and again, just to make sure that we he says “and, thus far, the equipment has
found the perfect balance of functionality proven to be exceptionally reliable. The
and aesthetic good looks,” says Helena. battery life of both the Avant and Mini models
“Retro looks have wide appeal, but the have exceeded my expectations, ensuring
Hobolites have to have great functionality as that they are able to hold up throughout
well, they can’t just look good. Our bottom lengthy shoots, The look of the Hobolite is
line has always been that we can’t sacrifice also beautiful, and I have had a lot of DMs on
performance for the sake of appearance. socials regarding the product.”
“It’s the reason why we spent so long “We’ve got so many great ambassadors
working on the design of the Hobolite, from helping us to improve by sharing their
2019 until the introduction of the lights this experiences,” says Helena. “And they’re so
year, and destroyed or gave up on so many happy and proud if their suggestions are
things that we just didn’t feel were working incorporated into our designs. We’ve been
as well as they could. Even now, if we ever feel surprised to see how many fans the light has
we could do something better then we will go attracted, and it’s telling us we’re doing
and do exactly that. It’s a little like creating a the right things in the right way.”
work of art: you’re never fully satisfied with
the things you’ve achieved, but are always More information:
on the journey to make something that’s ❚ hobolite.eu
even better. That’s the kind of spirit that’s ❚ craigdavidmcdowell.com
got us to where we are today and will lead to ❚ Available from Wex and Amazon

THE LAST WORD
Julia Nimke
Berlin-based photographer and Canon Ambassador Julia
Nimke spent a year travelling round Europe in a sprinter van,
documenting mythical places for her ongoing Folk Tales project.
As a lifestyle and travel
Q photographer, how do you
pick new travel destinations?
Most of the time I feel drawn to lesser-
known places. I never really want to go
somewhere just because it’s popular. The
more photos I see of a place, the more
I personally begin to lose interest in it,
and the magic kind of goes away because
there’s no element of surprise – and it is
surprise moments that I want to capture.
When you embark on a

Qnew trip, what level of
research do you do?
When I visit a place out of personal
interest, I’ll usually do a little research
and set some marks on maps, so I have
a broad idea of where I want to go. I spent most of my childhood in the a reindeer farm, and she told me a story
However, with my Folk Tales project, it garden of my grandparents’ house about how her people view the northern
was really a mixture of some research without a TV or the internet and, I think lights. Most Sami people look at it as the
upfront and more carried out on the to this day, I still love being outside voices and souls of their ancestors, but
ground. A good friend of mine gave me without being surrounded by constant I was really fascinated by her telling me
a book about folk tales in Iceland a few streams of information and noise. But that when her father and grandfather
weeks before I went on the trip that I I also love living in Berlin. I chose to would go into the field with the reindeer,
used as a point of reference. live here because of the vibrant culture it was still a time where the world was
and the art scene – I would miss it so calm that you could actually hear
How would you describe completely if I moved. the sound of the northern lights. I was
Q your style? completely blown away by that.
I would say my style can be kind of What drew you to begin
reduced to a necessity to evoke emotion
Q the Folk Tales Project? What do you feel it takes
and find a way to capture the atmosphere One thing I was really interested in
Q for a photographer to
of the place itself. I feel the need to from the start was the idea of the origin be successful?
capture something when it touches me of storytelling. I was really fascinated Consistency in simply going out
emotionally – so I’m not really the kind by how, back in the day, people didn’t and creating work has been the key
of person who spends a long time looking necessarily know why a mountain, element in me becoming a successful
for the perfect composition. for example, would look a certain photographer. It has been so necessary
way, or have explanations for natural for my artistic growth to photograph
What’s your favourite kind phenomena. I loved how people would on a regular basis. It’s like training a
Q of natural lighting? pass on their ideas to one another. It was muscle, and that’s exactly what you
I’m definitely drawn to morning and late also a way of entertainment, I suppose do with your eye - in search of light,
afternoon light, to have more of a low having those dark evenings in winter, composition and interesting angles. On
angle of the sun. The perfect light for and then instead of having a TV or the the business side of things, it has been
me is amazing low angle dramatic light, internet, you would tell stories. very important to be kind to people,
which creates so much more depth when to connect with like-minded artists
you're capturing landscapes. Were there any folk and to be in search of expanding your
Qtales you came across that knowledge through workshops,
Do you think that the fact particularly struck you? whether that’s on or offline.
Q the outdoors features One of my favourites is from when I
prominently in your work is was photographing in the far north of More information:
related to living in a big city? Norway. I met this Sami woman who had ❚ julianimke.com/folktales

Professional Photo Issue 208 June 2023

Uploaded by

Copyright:

Available Formats

Professional Photo Issue 208 June 2023

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Professional Photo Issue 208 June 2023

Uploaded by

Copyright:

Available Formats

THE UK’S ONLY MONTHLY MAGAZINE FOR WORKING & ASPIRING PROS

PRO LIGHT ROUND-UP CHANGING KIT

COLOUR MANAGEMENT NEW SERIES STARTS THIS MONTH!

IT’S ALWAYS EXCITING to receive some

PROJECT PRO GEAR: UPGRADING

Capturing the new Switching Compact and lightweight,

Page 16 Page 56 Page 68 Page 74

SUBSCRIPTION AND BACK ISSUES

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 3

Nikon has announced details of its 18

8 Fit for a King!

18 Project - The New Big 5

26 Behind the News

63 High Powered Hybrid

40 The Move Towards Motion

4 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

There’s no way you can

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 5

THE Z 8 JOINS THE NIKON PARTY

BID ON A VINTAGE BARGAIN!

6 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

T since the last time the country

8 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

Jonny, “and their gear was videographers can be extremely

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 9

10 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

RIGHT: Glow, Hunger quarterly culture and fashion magazine, Hunger.

12 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

others could learn from? How, for example, does he

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 13

ABOVE FROM LEFT:

LEFT: Lily Nova,

14 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

LEFT: Right Way Up,

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 15

16 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 17

Capturing the new

18 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

20 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

“I wouldn’t say there were any great surprises in there,”

Celebrating the New Big Five

TOP RIGHT: Cape

ABOVE RIGHT Cuban

RIGHT: African lion

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 21

BELOW: Lion close-

22 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

ABOVE: Golden Snub-

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 23

many of them are ultimately going to be happy to be part

Sourcing the Work

ABOVE LEFT: Florida

LEFT: Atlantic Puffin

24 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

“Choosing around 60 or 70 images for the endangered

PROFESSIONALPHOTO.ONLINE ISSUE 208 PROFESSIONAL PHOTO | 25

26 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE

28 | PROFESSIONAL PHOTO ISSUE 208 PROFESSIONALPHOTO.ONLINE