A MUST-READ FOR EVERY FULL-TIME AND ASPIRING PRO PHOTOGRAPHER
WHITE STUFF THE MERITS OF SIMPLE BACKDROPS ISSUE 107
LYNSEY ADDARIO 60 inspiring minutes with Pulitzer prize winning photojournalist
PHOTOGRAPHY STUDIOS: Turn yours into a moneymaking empire
MARRIED IN McDONALDS
Strange wedding venues and how to deal with them
PORTRAIT ISSUE It’s in with the old as Victoria Will’s tintypes lead our people special
SHOULD YOU SWITCH TO MIRRORLESS?
Photographer swaps DSLR for a CSC to shoot weddings. Will he say ‘I do’ to a permanent switch? See page 79
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I’ve chosen to devote a large proportion of the rest of this issue to portraiture. One of the mainstays of our profession, I think it’s important to bring you new and innovative ways to make your work stand out from that of your competitors. With this in mind, make sure you read the Victoria Will piece (see page 52). You may be familiar with her tintype celebrity portraits, but we got the full story about how they were created. Fascinating reading. That just leaves me enough room to say thank you to all those of you who took the time to get in touch and comment about the new-look magazine. I was heartened to read the (mainly) positive comments. Keep the views coming - you can get in touch with me using the details below. Enjoy the issue.
Editorial director Roger Payne email@example.com @RogPayne © LYNSEY ADDARIO FOR THE NEW YORK TIMES
BELOW: Opposition troops take positions as they push west outside of Ras Lanuf after taking the city back from troops loyal to Qaddafi, Libya, 5 March 2011.
Life as a professional photographer is, by and large, a stressful existence. With clients to keep happy, new work to find and bank managers to sate it’s a daily balancing act that we all try our best to manage. Imagine, then, that added to these considerable pressures is the small matter of staying alive and/ or dealing with the most raw human emotions. For many photojournalists this is a fact of daily life and I was honoured to meet one of world’s most prominent – Lynsey Addario – for this issue’s Pro Folio feature. Lynsey is a Pulitzer prizewinning photographer who has put her life on the line day after day to document events in the world’s war zones. I’m ashamed to admit that I approached our meeting wondering where on earth she found the drive to put herself in such grave danger, but ended up having nothing but complete admiration for her work ethic and motivations. While her photographs show that the world can be a truly awful place, we are, undoubtedly, better for her Nikontoting presence within it. If truth be told, Lynsey’s feature doesn’t really cover the full extent of issues we discussed, so I’ve made the audio of our entire conversation available on our website. Head to: bit.ly/ LynseyAd and have a listen.
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© VICTORIA WILL
EDITORIAL Editorial director Roger Payne 01223 492244 firstname.lastname@example.org Contributing editors Terry Hope & Ian Farrell Sub editors Lisa Clatworthy & Catherine Brodie Contributors Tigz Rice, Richard Hopkins, Ed Godden, Megan Croft ADVERTISING Sales director Matt Snow 01223 499453 email@example.com Key accounts Mike Elliott 01223 499458 firstname.lastname@example.org Sales executive Krishan Parmar 01223 499462 email@example.com DESIGN Design director Andy Jennings Senior designer Mark George Ad production Lucy Woolcomb WEB Digital development manager Ashley Norton Interactive designer Will Woodgate PUBLISHING Managing director Andy Brogden Managing director Matt Pluck Head of circulation Chris Haslum SUBSCRIPTION AND BACK ISSUES Subscribe online: www.brightsubs.com/photopro Email: firstname.lastname@example.org Subscription hotline: 01778 392497 NEWS-STAND DISTRIBUTION COMAG, Tavistock Road, West Drayton, Middlesex UB7 7QE 01895 433600 PRINTED IN THE UK BY Warners Midlands plc using only paper from FSC/PEFC suppliers www.warners.co.uk
Professional Photo is published on the first Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Professional Photo is a registered trademark of Bright Publishing Ltd. The advertisements published in Professional Photo that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.
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COVER LYNSEY ADDARIO
COVER PHOTO STUDIOS
COVER WHITE STUFF
LIGHTROOM SEO MASTERCLASS
COVER VICTORIA WILL TINTYPES
Slipknot, Pocket Wizards, event photography… if it’s hot in the pro photo world, it’s here The most thought-provoking interview you’ll read this year Got a studio? Here’s how to use it to grow your business Use simple backgrounds for powerful portraits Become more Google-friendly with our essential guide
An old process breathes new life into celebrity portraiture
COVER MARRIED IN McDONALDS
Weddings in unusual places – and how to photograph them
COVER SWITCH TO MIRRORLESS
MIRRORLESS STANDARD ZOOMS
BUYERS’ GUIDE: CINE LENSES
BEHIND THE SHOT
Budding portrait shooter shares her stunning portfolio How a Pentax 645Z can help you get better people images Will wedding photographer Ed Godden opt for a lighter life? Four mirrorless zooms put across our exacting test bench Pick the right optic and make great movies The image that launched Eve Arnold’s Magnum career
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knot normal PAUL HARRIES
Granted, photographing a masked man in a cornfield may not be your conventional portrait commission, but for Paul Harries it’s par for the course. Paul took the image as part of an ongoing collaboration with controversial American heavy metal band Slipknot, who have penned songs including ‘Wait and Bleed’, ‘Pulse of the Maggots’ and ‘People = Shit’. Your mum will love them. The band are renowned for donning grotesque masks and boiler suits as part of their onstage persona and, understandably, are fiercely protective of how their image is portrayed. “I met them in 1999 when I shot their very first cover for Kerrang! magazine,” recalls Paul. “One of the guys in the band always dresses as a clown and he’s the creative driving force. We got on straightaway and the relationship has blossomed from there.” The past 16 years have been a roller-coaster ride with Paul shooting everything from on-theroad stories to videos, one of which went a little too far in 2004 resulting in a house being almost completely destroyed. “A settlement cheque was posted for that one,” he confirms.
This image of Corey, the band’s lead singer, is one of his favourites. “I was going to shoot the whole band but, as is the way with Slipknot, one of them was in hospital after a DIY accident. The band didn’t want to be shot without him so I asked Corey if he was prepared to do some individual shots. I just thought it looked so creepy. Before I even looked at the back of the camera I knew it was going to be amazing.” Paul’s images – some of which make for rather uncomfortable viewing – were the recent focus of the exhibition Slipknot: Dysfunctional Family Portraits at The Strand Gallery in London. A book of the same name is also available through Omnibus Press.
paulharries.com @paul_harries thestrandgallery.wordpress.com
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the decisive moment TOM KEENAN
Non-wedding photographer comes up with great wedding photography idea. Just keep it to yourself, OK?
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A photographer hiding in the bushes with a zoom lens would have most of the general public thinking paparazzi quicker than you can say tabloid fodder. Turns out though that this isn’t why portrait photographer Tom Keenan hides in bushes. He’s there to capture the ‘yes’ moment, the moment a girlfriend (or boyfriend) becomes a fiancée. Inspired by a story on BuzzFeed, Tom Keenan quickly added photographing proposals to his “things that I’d love to do list”. The first proposal Tom shot was Jonny asking girlfriend Emm to marry him (pictured here). And so ‘hush hush’ was born. Tom describes hush hush as “raw and authentic, meaning I capture the couple as they are”. The fiancées-to-be aren’t in the know and so they could be horrified to be photographed in their dog walking clothes, without make-up or with dragged-through-the-hedgebackwards hair. That is of course unless the client spills the beans, but Tom even urges clients to delete all emails to
keep the shoot secret. He also stresses to the proposer that when the fiancée sees him, they need reassuring. “A response like ‘who on earth is that’ could result in them running away,” he says, “but ‘don’t worry, I booked Tom to capture this moment’ would hopefully bring comfort and more excitement. Emm was absolutely elated to find I’d photographed her and her fiancé in such a beautiful way, even though she wasn’t made up like she would be for a special occasion.” While some proposers know where they’d like to go down on one knee – Tom even had an enquiry about a proposal in Paris recently, not everyone does. Given his work as a portrait photographer, Tom has plenty of local suggestions to draw upon. He explains that “in Jonny’s case we discussed a handful of ideas before settling on the beach”, which is how he found himself in a bush with his Nikon D700 and Nikkor 70-200mm f/2.8 lens. “The lens’s narrow depth-of-field is WWW.ABSOLUTEPHOTO.COM
IMAGES: Forget the big day, photographing the proposal is a true labour of love for ‘secret’ photographer Tom Keenan.
enough to blur any distractions in the background, and without using flash the wide aperture allows the correct amount of light in,” he comments. The secret nature of the shoot dictates the kit he chooses; it’s not the kind of commission where he can take along a selection of lenses and lighting kit. He relies on his experience and skills, not to mention the Nikon kit that he swears by, to get the shot. You might imagine that proposal photography goes hand in hand with wedding photography, but Tom doesn’t shoot weddings. He’s a portrait photographer so he doesn’t offer a proposal shoot packaged with wedding photography. The hush hush package includes the pre-proposal discussion, a dummy run with the proposer, the shoot and a selection of digital images. He also offers add-ons like prints or products from Loxley Colour. There’s no keeping quiet about hush hush; it’s already made the local papers, if not the red tops, and Tom’s been busy @PHOTOPROUK
marketing his idea on social media. He also reports that “the feedback from Emm and Jonny’s friends has been positive; I have heard of people noting it for their future consideration.” So, next time you see a zoom lens poking out of the shrubbery, take a look around for the happy couple.
tomkeenanphotography.co.uk tomkeenanphotography tomkeenanphoto ISSUE 107 PROFESSIONAL PHOTO 013
“SOMETIMES I’LL BE SHOOTING AND I CAN’T STAND IT EMOTIONALLY… LYNSEY ADDARIO
Lynsey Addario has worked in some of the world’s most hostile locations, been kidnapped twice and witnessed death and destruction on a massive scale. This is her incredible story
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© LYNSEY ADDARIO/VII NETWORK FOR TIME MAGAZINE
I JUST START CRYING”
RIGHT: US Navy medical staff and corpsmen pay their respects to Lance Cpl. Jonathan A Taylor, after he succumbed to injuries sustained in an IED attack on combat operations in southern Afghanistan, December 2009.
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ABOVE: Lynsey Addario BELOW: An Iraqi woman searches for her husband near a massive factory fire in Basra, Iraq, May 2003. TOP RIGHT: Syrian refugees at Kawrkos camp in northern Iraq fight for clothes and supplies distributed by Kurdish people, August 2013.
© LYNSEY ADDARIO/CORBIS SABA
BELOW RIGHT: Libyan opposition troops burn tyres for use as cover during heavy fighting near Ras Lanuf, eastern Libya, as rebel troops pull back, March 2011.
ynsey Addario is talking Hollywood. Her book It’s What I Do has recently been optioned by Warner Brothers and there are rumours of Spielberg getting involved. For a photojournalist who has spent much of the last two decades in some of the world’s most dangerous and hostile locations, how does she feel about her autobiography being given the Hollywood treatment? “The priority for me is that the public have a better idea about what we do,” she tells me. “There are great misconceptions about why journalists cover war and what happens on the front line of war. People think it’s all about the adrenaline, it’s not. So if Hollywood can bring more information to the public, that’s great.” I ask the inevitable question: who would play her? “I don’t know,” she replies with a glint in her eye, “but I hope she’s smoking hot!” We’ve been talking for nearly an hour, but for me these few sentences encapsulate Lynsey’s character, work ethic and outlook on life. Throughout our conversation, she vigorously defends the role of the photojournalist and stresses the wider importance of her work being seen by a global audience, but never once comes across as a person who has been subjugated through continued exposure to the very worst examples of human behaviour. “I’ve experienced the very worst and the very best of humanity,” she says. “But for all of the miserable things I’ve seen, I’ve also seen so many incredible people, the greatest generosity and the most resilience from people who are still giving everything when they have nothing.” The daughter of two hairdressers, Lynsey started taking photographs at 12 when her father presented her with
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a Nikon FG. It quickly became a passion and although she studied international relations and Italian, after graduation she chose photography as her career. She initially worked as an unpaid photographer’s assistant in New York, but was ‘bored out of her mind’, moving instead to Argentina to study Spanish. “I became increasingly aware of images in newspapers and realised that it was the sort of photography I wanted to do, so I went into the Buenos Aires Herald and kept asking them for a job,” she recalls. After numerous rejections, her break came when Madonna was in town. The Herald dispatched her - still using the Nikon FG - to sneak on to the set and get a picture of the star. But after talking her way past security, she realised her standard lens simply wasn’t up to the job. “I was standing there really depressed because I thought I’d blown my one big chance,” she remembers. “This guy tapped me on the shoulder and offered to let me borrow his super telephoto lens - I didn’t even have any idea that you could change lenses! But I got some shots, the Herald gave me a job and I stayed for a year.” The next five years saw her move back to New York, where relentless badgering secured her freelance assignments with the Associated Press, then out to India in 2000 where she hoped to make it as a foreign correspondent. “At the AP I learned how to be a photographer, but when I was in India so many correspondents around me were covering Afghanistan. I wanted to see how women lived under the Taliban, so I made three trips prior to 9/11. When the [September 11] attacks happened, I wanted to go back as I had experience of the area that not many others had.” Lynsey often uses the word ‘want’ when she talks about the places she’s been to cover conflicts. But where did the seemingly fatalistic impulse come from? “It wasn’t the danger that drove me, it was about bearing witness to historical moments,” she explains. “It never dawned on me that I personally would be a target, I knew there were certain inherent risks covering war, but if so many other journalists were going to be there, why would it be specifically dangerous for me? “When I committed to this work, I accepted dying as a possible consequence. It wasn’t like I didn’t love my life, but I was so driven and immersed myself 100%,” she continues. “If you’re living somewhere that bombs are exploding around you, you understand that your life might end. But I was OK with that, I’d reconciled in my head that it was what I wanted to do. Now it’s very different with the rise WWW.ABSOLUTEPHOTO.COM
© LYNSEY ADDARIO FOR THE NEW YORK TIMES
© LYNSEY ADDARIO FOR THE NEW YORK TIMES
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© IAN FARRELL
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plain & simple IAN FARRELL, ADAM BRONKHORST & JAMES O JENKINS
Itâ€™s perhaps the purest form of portraiture there is, but there is more to photographing against a plain background than meets the eye. Done properly it can give fascinating subjects the attention they deserve and give your extended projects the continuity they need
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HOW TO LIGHT A PLAIN WHITE BACKGROUND When working with a plain background you should light it separately from your subject. This avoids shadows and ensures that the backdrop is the correct tone and colour. This is never more important than when shooting against white: unless you light a white background (or get your subject very close to it) it can appear disappointingly underexposed and grey. In the studio it’s best to allocate a couple of lights specifically to your background. Fitting them with brollies or softboxes will ensure they spread their light for decent coverage, as will ensuring they’re not too close to the background. You may also need to flag-off the flashes to stop their light spilling onto the subject from behind or causing flare by shining into the lens. A white background should be slightly brighter than your subject to ensure it looks clean. The easiest way to do this is: (a) set up the main light you’ll be using to shoot your sitter, (b) make a note of the aperture this lighting requires, (c) adjust the power on your background lights so they are providing
about half a stop more light, ie. they require an aperture half a stop smaller than your foreground subject. If the extra brightness of the backdrop is any greater than half a stop you run the risk of backlighting your subject with light reflected from the background paper, which can give halo effects and bleach out fine details like hair. The easiest way to measure the relative brightness of background and foreground is to use a flash meter. Turn off the background lights when measuring the foreground exposure, and vice versa. A flash meter is also very handy for checking that you have consistent illumination across the background paper, with no bright spots. Ideally the brightness you measure should vary by no more than a 1/4 stop. If you’re finding this hard to achieve, move the lights further away from the background to reduce the amount of fall-off they produce and increase the angle of spread. Plenty of studios around the UK offer lighting courses if you want to get some tuition. Try Paul's Studio (pauls-studio.co.uk or 07930 462906) as a start.
Lighting set-up for a clean white background
RIGHT: To ensure the background is perfectly white, set the flash heads to give half a stop more light than is on your subject.
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© JAMES O JENKINS
CASE STUDY: JAMES O JENKINS SHOOTING THE UK About ten years ago I was working for a lads’ mag shooting pictures of some of the more quirky customs and events that go on around the UK. I followed a journalist and photographed him getting involved – it was good fun, though I wasn’t satisfied with how the pictures were used and I felt I could tackle it better in my own way. So I went back and revisited all these bizarre and peculiar traditions, shooting portraits of the people taking part. I decided to shoot them on white backgrounds because I wanted the pictures to work together – like a deck of playing cards. I used the same ringflash for a consistent approach.
It was tricky logistically: there’s a lot of drinking and dancing at some of these events, so it wasn’t always easy to drag people away for a picture. Sometimes I got my assistant to carry a massive 6x6ft canvas background around, and at other events I managed to set up a proper background stand or tape a Colorama to the wall of a pub. You get a very different reaction from someone in front of a background than if you photograph them doing what they are doing. I liked the way their behaviour changes almost immediately. I think generally you need a reason to photograph someone against a plain white background – it’s not just
a fallback position. For me that reason was to draw as much attention as possible to my subject’s appearance and to provide this consistency between all the images. I love the project and the way it looks, and it had a knock-on benefit too: when Antony Gormley was looking for someone to photograph everyone who posed on the fourth plinth in Trafalgar Square he liked the consistent approach of my United Kingdom project and hired me for the job. I ended up shooting 2400 people over the course of 100 days in much the same style. jamesojenkins.co.uk
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First look: LR6/CC
Lightroom 6/CC TIGZ RICE
Faster, smarter, better? Lightroom has been updated â€“ these are the key changes
dobe has given Lightroom an overall performance boost, with the application now taking advantage of compatible graphics processor units (GPU) to increase speed. These changes are particularly noticeable in the Develop module. Image adjustments are now in real time, with changes to the sliders or Tone Curve graph rendered instantly. The new version is also significantly quicker at building standard and 1:1 previews, aided by a new Auto setting for Preview Size in Catalog Settings. Detecting your monitor size, Lightroom formats previews for optimum speed. There are also improvements in the Library, with Collections now able to be filtered by name, as well as shift-clicking the quick access Develop Settings making basic amends at half the usual increments. 048 PROFESSIONAL PHOTO ISSUE 107
A number of existing features have been upgraded, including enhancements to the Slideshow module - which now offers both Manual and Automatic modes, supporting up to ten audio tracks per slide show for longer playback. There are also new options to Pan and Zoom sliders along with an Audio Balance slider to control the audio levels between video and overplayed music tracks. It can also sync your images to keep time with the beat of the music and - possibly the most handy new feature save slide shows so you can go back and make minor changes at any time. For those of you already enjoying the Filter Brush feature in Adobe Camera Raw, it has now arrived in Lightroom, giving you the option to mask areas of graduated or radial filters with the supplied brush tool. WWW.ABSOLUTEPHOTO.COM
First look: LR6/CC
IMAGES (FROM TOP): Camera Raw’s Filter Brush is now included; facial recognition works with keywords; builtin HDR Merge; and seamless panorama creation.
Introduced to the Web module are HTML5 based Web Galleries, giving better support for online curation of images. Among the brand-new features are built-in High Dynamic Range (HDR) Merge and seamless Panorama creation. Both provide a far more convenient and time-efficient workflow than the previous method of rendering merged images through Photoshop, as well as the huge advantage of maintaining all the original Raw information via the creation of a new Digital Negative File (DNG). In comparison to the TIFF results from Lightroom 5 via Photoshop, DNG files allow for even more control post-merge; in fact, Lightroom will offer up to four stops of non-destructive exposure adjustment in either direction for Panorama files and up to ten steps in either direction for HDR Merge. Highly sought after since its appearance in applications such as Aperture, Facial Recognition debuts in Lightroom. After you’ve provided some initial naming information, Lightroom will start to autocomplete names and subsequently recognise and suggest names for each face in future. Each name also gets its own dedicated keyword for easy searching, which I can see being an invaluable tool for event and sports photographers where images of specific attendees might be requested. For those who decide to go the subscription route, Lightroom CC also opens up a whole new world of cloud-based accessibility, with major improvements to Lightroom mobile
and the release of brand-new apps for iOS and Android for anytime, anywhere access to your synced image library. As well as being able to edit your desktop library on the go via Smart Previews, you can automatically import photos taken on your mobile device directly to your desktop, streamlining the creative process. The new Lightroom On The Web feature also allows for online gallery sharing as well as the ability to receive feedback from your clients, which for some photographers may even remove the need to invest in a third-party online client gallery. Initial verdict Adobe continues to bring its A game to the post-production workflow, providing an impressive and diverse range of updates and new features that speed up and streamline workflow in this new version of Lightroom. Regardless of subject matter and style, if you’re a professional photographer working with large quantities of image files, the performance boost delivered by using compatible graphics processing units would be a reason enough on its own to upgrade, making everything else a bonus.
PRICES ADOBE CREATIVE CLOUD USERS Free NEW CREATIVE CLOUD USERS £8.57 a month (Photographer’s Bundle) ONE-OFF NON-CLOUD APP £100.07
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Project: Victoria Will
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Project: Victoria Will
When Victoria Will was considering how to tackle her fourth photographic residency at the Sundance Film Festival she looked to the past for inspiration and based her approach around the ancient tintype process
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Project: Victoria Will
s photographers we are constantly looking for inspiration, new ideas, fresh approaches and the excitement of a challenge, all to ensure that we never get stale and are constantly pushing ourselves. For celebrated American portrait photographer Victoria Will, the thrill of being invited to photograph Robert Redford’s legendary Sundance Film Festival in Salt Lake City had her fired up for three years, but by the fourth year she was looking for something a little left field to stop herself slipping into a formula. She found what she was looking for in the ancient Victorian photographic process known as tintype. “Sundance takes over Park City’s Main Street each year,” says Victoria, “and over the period regular places like shops, restaurants and even a library are rented out by big companies like Absolut Vodka and rebranded so they become an intrinsic part of the festival. Many of these places house a photographic studio – essentially just four bare walls – and people will come in to have their picture taken. For me it’s an interesting challenge, because I never know quite what I’m going to be confronted with when I arrive and I have to adapt on the spot. With tintypes it was a bigger challenge because, alongside the studio space, I also had a darkroom to coat and load plates before processing them.” Acquiring its name because it’s printed onto a thin sheet of metal – usually iron or aluminium rather than tin - the tintype process dates back to the dawn of photography and was widely used in the 1860s and 70s. Collodion emulsion has to be applied immediately to the plate and then exposed while it’s wet. Traditionally, it was fixed with potassium cyanide, a deadly poison, though there are modern, less toxic substitutes now. The plate forms the final image so there’s only one copy, and the result is an underexposed negative. The plate’s black backing makes it appear as a positive, albeit one that’s reversed. Although it sounds primitive, the result is very stable and its beautifully subtle brown appearance has endeared it to a new legion of followers in the past few years. “I first came across tintype several years ago at a photo festival in New
York,” says Victoria, “and was super fascinated by it. I was the typical photographer, asking what they were doing, where are they going with that, why did they do this. When they handed me the final plate my reaction was like, wow! Then I thought to myself, if I’m going to respond like this then anyone with a creative bone in their body is going to love it too.” Going for old The thought stuck and Victoria decided to go for broke at the Sundance Festival in 2014, using the tintype process alongside her regular digital portrait booth and meeting the challenges of employing a 150-year-old process. Although she’d thoroughly prepared herself in advance it was still a steep learning curve. After an exhausting but invigorating five days, Victoria walked away with approximately 50 successful plates of celebrities like Phillip Seymour Hoffman, William H Macy and Elijah Wood - a much larger number than she ever expected to make. However it was still far fewer images than could have been made with a conventional camera and there were some technical issues with artefacts on the plates, the result of working quickly with the chemicals. There was enough positive feedback for Victoria to up the ante at the January 2015 Festival and this time she engaged the services of Geoffrey Berliner, the executive director of Penumbra Foundation, a New York non-profit arts organisation dedicated to alternative photographic processes, and Jolene Lupo, the manager of Penumbra’s tintype studio. “These were the people who had inspired me,” says Victoria, “and although I’d been helped in the first year, this time around I was able to step things up, and we actually managed to achieve 175 plates, which is a crazy number for a process of this kind. It also freed me up to focus more on my clients and get the best out of them.” There were all kinds of positives from working with a process that was so unknown to most people. For a start, the challenges it threw up became part of the motivation. The Penumbra team – dressed, to Victoria’s amusement, mad scientist-style, with gloves and goggles to protect against the chemicals – were
PREVIOUS SPREAD, LEFT TO RIGHT: (TOP) Actors Dianna Agron, Michael C Hall and William H Macy (MIDDLE) Actors Richard Dreyfuss, Elle Fanning and Steve Coogan (BOTTOM) Actors Jesse Eisenberg, Jack Black and Leslie Bibb ABOVE: Actors Elle Fanning and Glenn Close RIGHT: Actor Karine Vanasse
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Project: Victoria Will
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Rising Star: Rachel Vogeleisen
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Rising Star: Rachel Vogeleisen
rising star RACHEL VOGELEISEN
As she takes her first steps on the road to becoming a professional photographer Rachel Vogeleisen reflects on her journey so far, talks about her plans for the future and her abiding love for portraiture
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Buyers’ guide: Cine lenses
Let’s make movies! ROGER PAYNE
f you’re shooting video with your DSLR, the chances are you’ll be doing it using the same lenses you use to capture still images. That’s fine for the occasional job, but with the ability to shoot movies becoming more important for working pros, it’s worth considering investing in the right tools and buying cine-specific lenses. Looking at the price tags of some cine lenses might make you question the reasons to invest, but the explosion of DSLR moviemaking has seen a wider range of products come to market. Suffice to say, you should now be able to find a model that suits your budget.
So why make the switch? There are a number of reasons. Cine lenses have a longer focusing ‘throw’ than still lenses, so precise focus is easier to achieve, plus they feature geared rings so you can attach a follow focus. Other cine lens benefits include internal focusing mechanisms - handy if you’re using filters or large mattboxes that don’t rotate - and parfocal designs, which means that the focusing point doesn’t change when you zoom as it would do with a still lens. They also offer stepless apertures for smoother adjustments while you’re shooting and larger lens markings.
It’s quickly worth mentioning the difference between f/stops and T-stops, which is essentially how those numbers are arrived at. F/stops are calculated by the manufacturers and can vary slightly from lens to lens: f/5.6 on one lens may not allow exactly the same amount of light onto the sensor as f/5.6 on another. T-stops, however, take this into account and are precisely measured. So T3.1, for example, transmits the same amount of light regardless of lens. It helps filmmakers mix lenses from different manufacturers without seeing any change in the amount of light being transmitted to the sensor
ENJOY MAKING MOVIES? GET THIS MAG! Say hello to the only worldwide dedicated resource for aspiring and professional filmmakers. Head to the iOS or Android app store to download the latest issue of Pro Moviemaker today or subscribe to Professional Photo and receive a free copy every quarter. promoviemaker.net
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Buyers’ guide: Cine lenses
ZEISS PRICES FROM £510
The Zeiss name has become synonymous with high-quality optics over the years and when it comes to cine lenses there is a vast range on offer. Alongside the highend Master, Ultra and Master Anamorphic lenses there are also ranges of Compact Zooms, Compact Primes and SLR/CSC lenses which are more in the realm of the professional looking to make the move to moviemaking. The SLR/CSC family comprises 11 lenses with a Canon EF mount, 12 with a Nikon F mount and two Loxia optics which are suitable for Sony’s E mount. In essence, this family represents a mid-point between a conventional camera lens and a cine lens with long focus throws, but stepped apertures measured in f/stops. For a more cinematic offering the Compact Zooms and Primes have the more familiar geared focus, zoom and aperture controls and cover five lens mount options, including both full-frame and smaller sensors as well as Arri PL. zeiss.co.uk @PHOTOPROUK
CANON PRICES FROM £3200
Canon really set the DSLR moviemaking ball rolling with the EOS 5D MkII and that tradition has continued with subsequent models refining their movie offerings, not to mention the introduction of the dedicated Cinema EOS System. While current EOS users will welcome the fact that conventional Canon EF lenses will fit on both DSLR and Cinema system bodies, the company also offers a comprehensive range of cine optics comprising eight zooms and six primes. The zooms are available in both Canon EF and Arri PL fittings and are split into Top End and Compact options. The primes are available in EF mounts only. All lenses are suitable for 4K capture, as you’d expect given their price points. As you’d also expect, the entire range bear all the cine-specific hallmarks with geared zoom, focusing and aperture rings, plus some high-quality glass elements and 11-blade aperture diaphragms delivering impressive results. canon.co.uk
SCHNEIDER PRICES FROM £2564
Schneider provides a wide range of optics for a whole host of moviemaking applications. The most relevant for DSLR moviemakers is the range of Xenon Full Frame (FF) prime lenses, which currently comprises five optics: 25mm, 35mm, 50mm, 75mm and 100mm. Interchangeability is the key with this quintet. All have the same T2.1 maximum aperture, share the same external dimensions and weigh the same: just under 1.2kg. The only exception is the 100mm, which weighs in at a slightly more portly 1.4kg. They’re also all available in Nikon, Canon and Arri PL mounts, although the mounts can be switched should you change systems at a later date. Given the price tags it goes without saying that the entire range is 4K compatible, plus they offer geared mechanisms on focus and aperture controls as well as a 14-blade aperture for circular bokeh effects. schneideroptics.com ISSUE 107 PROFESSIONAL PHOTO 095
Published on May 27, 2015