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A MUST-READ FOR EVERY FULL-TIME AND ASPIRING PRO PHOTOGRAPHER

RED ALERT! PREPARE FOR AMAZING RED BULL IMAGES ISSUE 109 £4.75

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“MY PICTURES CAN TAKE WEEKS TO COME TOGETHER” Ryan Schude on his epic portraits

PRO KITS LAID BARE Wedding, architecture & fashion pros reveal the kit they can’t work without

HOW THINKING SMALL MAKES A BIG DIFFERENCE Focus on details to grow your business

IT’S SHOW TIME! Why you should be exhibiting your work

FAST TRACK

Shoot saleable portraits quicker than you can make a cuppa MAKE YOUR WEDDING IMAGES STAND OUT A comprehensive guide to wedding albums and photo books you and your clients will fall in love with


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Welcome

welcome

would seem, in Pete’s mind at least, that exhibiting your work could well be a measure of your success. Staging a successful exhibition that sells some of your work, gets some promotion and, crucially, helps you to define your work and where you’re going with it, should certainly be seen as a major success. Read more about MOVE in this issue’s Upfront and then get organising! The rest of the issue should sate any photographer looking for a mix of sage business advice, brilliant images, informative buying info and essential techniques. Do let me know what you think. You can contact me directly using the email address below. In the meantime, I’m off to brush up on my framing and mounting skills…

Editorial director Roger Payne rogerpayne@bright-publishing.com @RogPayne © PETE BRIDGWOOD

BELOW: How do you know when you’ve made it? When you’re mounting your images for an exhibition, according to MOVE curator Pete Bridgwood.

How do you define your success as a photographer? For many this may be measured by the size (or not) of your bank balance. If you’re supporting yourself and your family through taking pictures, you’re doing pretty well, right? Well, yes, on one hand. But after having a conversation with fine art landscape photographer Pete Bridgwood for this issue, I found myself thinking that there are more ways of gauging how you’re doing. Pete is the brains behind MOVE (Masters of Vision Exhibition), a collaborative show that features the work of some of the UK’s leading landscape photographers. After spending a couple of hours in Pete’s company it was hard not to get carried away with his obvious enthusiasm for putting on an exhibition, not to mention the tangible benefits he feels it generates for photographers. This, in turn, got me thinking about the milestones you might choose to identify as career-defining. Getting your first pay cheque as a photographer would certainly be one. Then, perhaps, you might think winning a competition or award would be special, as would getting your work published in a newspaper or magazine. After that it

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Contents

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EDITORIAL Editorial director Roger Payne 01223 492244 rogerpayne@bright-publishing.com Contributing editors Terry Hope & Ian Farrell Sub editors Lisa Clatworthy & Catherine Brodie Contributors Tigz Rice, Richard Hopkins, Steve Davey, Megan Croft, Charlie Pinder ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Key accounts Mike Elliott 01223 499458 mikeelliott@bright-publishing.com Sales executive Krishan Parmar 01223 499462 krishanparmar@bright-publishing.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: subs@photopromagazine.com 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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Contents

inside #109

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COVER UPFRONT

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COVER RYAN SCHUDE

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COVER THINK SMALL

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COVER FAST TRACK

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CALIBRATE YOUR COLOURS

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RISING STAR

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COVER RED ALERT

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PROJECT: HIGH FLYER

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COVER PRO KITS LAID BARE

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MIRRORLESS TELEZOOMS

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COVER WEDDING ALBUMS & PHOTOBOOKS

Why you need to exhibit your work, amazing wedding images, new Nikon lenses & girls! Filmmaker turns photographer to create blockbuster portraits Why an eye for detail is crucial in running your photo business How to take saleable portraits in a matter of minutes Simple steps that will save you hours of post-production time Daniel Hough takes great wedding images. We meet him Jaw-dropping shots from the Red Bull Content Pool Find out why Vincent Laforet is hovering at 7500 feet over London A fascinating rummage around the kit bags of top professionals How do four mirrorless zooms fare on our exacting testbench

Say ‘I do’ to these great presentation ideas

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BEHIND THE SHOT

The low-down on one of Patrick Lichfield’s iconic nudes

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UPFRONT

flight wedding CAREY NASH

ROGER PAYNE

While many wedding photographers spend the day after the big event backing up images and sorting out gear, Canadian-based Carey Nash has somewhat bigger plans. And for the recent wedding of Jennifer and Rob King this meant trekking in the Rockies and even hiring a helicopter to shoot some simply breathtaking images. “With many of my destination weddings I encourage a day-after session. It means the couple can spend more time with family and friends on the wedding day, and it gives us the freedom to be adventurous the next day,” Carey told Professional Photo. “I pride myself on working hard to scout locations or climb to spots that allow me to frame images in a unique way.” This shot was created while Carey and the Kings were on terra firma, but he also took to the skies to make the most of the stunning surroundings. See Carey’s website for more.

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“When I was in the air the biggest challenge was communicating with the couple, so we would briefly discuss what and where I wanted them to go and then trust the message had been conveyed properly. There were a few times when they looked up to see me gesturing like crazy, but we got what we needed!” Carey hadn’t visited some of the locations prior to the shoot and put a lot of trust in the helicopter pilot - Ralph from Rockies Heli Tours - to help. “Ralph gave us incredible guidance. Being in the air and renting the helicopter is expensive so having a better idea of what I wanted in advance would have made me more efficient on day. It was also so incredibly beautiful I had to remind myself to stay on task and not just smile all the time.” careynash.com careynashphotography @careynash

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Ultimate wedding

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UPFRONT

kit news

New gear to get you warming up the credit card

TAMRAC HITS PROS WITH ANVIL

NIKON LIGHTENS SUPER TELEPHOTO DUO A combination of fluorite glass and magnesium alloy hold the key to two lighter, faster super telephoto lenses from Nikon. Both the AF-S Nikkor 500mm f/4E FL ED VR and 600mm f/4E FL ED VR optics, which go on sale this month, use the two materials to substantially reduce weight over their predecessors. The use of fluorite glass elements also means the lenses are less ‘front heavy’, as well as offering an improved optical performance. Both lenses also offer a range of new features for improved picturetaking performance. These include an electromagnetic diaphragm, which makes exposures more consistent and precise during high-speed bursts, and the latest version of Nikon’s Vibration Reduction technology, which offers four stops of correction and has a Sport mode for better tracking images. Focusing is taken care of by Nikon’s Silent Wave Motor, which is both quiet during AF operation and can easily be switched to manual, plus there’s

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a new focus limiting function for even quicker focusing speeds. Other features include a redesigned tripod collar with smoother bearings and an anti-theft Kensington lock slot, plus a fluorine coating that repels water, dust and dirt. Suggested retail prices are £8149.99 (500mm) and £9649.99 (600mm). If those are a little too hot for your wallet, try the DX 16-80mm f/2.8-4E ED VR travel zoom at £869.99. The APS-C only model focuses down to 0.35m, weighs 480g and features a four-stop Vibration Reduction system. Nikon is also offering a free battery grip on purchases of the D7200 or D610 made between now and 2 September 2015. nikon.co.uk nikon.co.uk/promotions (battery grip offer)

Tamrac has launched the Anvil range of backpacks, the first of a whole new series of carrying solutions designed for professional and enthusiast photographers. Despite the name, the bags are made from lightweight materials and offer some of the more popular features from the company’s existing Expedition series. Anvil backpacks are available in six different sizes. The Anvil 17, 23 and 27 are all designed for pro-sized DSLRs with battery grips, lenses and accessories, while the Anvil Slim 11 and 15 are shallower for smaller DSLRs and mirrorless cameras. The Anvil Super 25, meanwhile, is a real workhorse built for a pro-DSLR and a telephoto lens up to 600mm. All the bags are made with weather-resistant fabrics and are claimed to feature the strongest buckles and most durable zips. A rain cover is included with each bag. Prices start from £199.99 for the Anvil Slim 11. intro2020.co.uk

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Kit news

RICOH RELEASES GR II DIGITAL COMPACT Ricoh has updated its premium GR compact camera. The new GR II has the same 28mm fixed lens (35mm equivalent) and APS-C sized as its predecessor but now adds wireless connectivity and a range of performance enhancements. The inclusion of Wi-Fi and Near Field Communication (NFC) means the GR II can easily connect with a smartphone or other mobile device for both image sharing and remote camera control. In addition, the GR II boasts a more precise auto white-balance control, better control of noise at high ISOs, six new effect modes and wireless control over an external flash. The GR II is available now for £599.99. ricoh-imaging.co.uk

NEW BACKPACKS FROM THINK TANK Think Tank Photo’s new Trifecta backpacks are designed for photographers wanting to transport a ‘workhorse’ kit comprising camera body and up to five lenses. The concept of the two bags in the range - the Trifecta 8 for mirrorless kits and Trifecta 10 for DSLR outfits - is to carry the body along with ultra-wide, mid-range and telephoto zooms, but clearly more prime lenses could squeeze in. Both also take a tablet, plus bits and bobs. Externally, the bags are made from a tough fabric with a durable water-repellent coating, plus there’s a tripod strap and a stretchable front pocket for a water bottle. Other features include a top compartment for lunch/waterproofs and both left and right side access so you don’t have to take the backpack off to get at equipment. Available now, the Trifecta 8 costs £109, the Trifecta 10 is £124.

SIGMA UNVEILS FASTEST WIDE-ANGLE ZOOM Sigma has unveiled the world’s fastest wide-angle zoom lens for DSLRs with full-frame sensors. The 24-35mm F2 DG HSM, which has been added to the company’s Art range of lenses, will be available in Sigma, Nikon and Canon fittings and has a constant f/2 maximum aperture throughout the zoom range. Further technological highlights include one fluorite glass element and seven special low dispersion elements for optimum image quality, an inner focusing mechanism to avoid front lens rotation and hypersonic motor for fast, near-silent autofocusing. It focuses down to 28cm and has a nine blade aperture diaphragm for pleasant out-of-focus highlights. Pricing and availability are to be announced.

snapperstuff.com sigma-imaging-uk.com

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Pro folio

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Pro folio

A FILM IN A FRAME RYAN SCHUDE

TERRY HOPE

Ryan Schude somehow manages to squeeze an entire movie into a single frame. Now his first book is introducing his work to a whole new audience

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Pro folio

rab the popcorn, pull up a chair and prepare to enter the world of Ryan Schude. His images are produced on an epic scale and, appropriately enough for a photographer based on the borders of Hollywood, they borrow heavily from the world of filmmaking, not just in terms of their appearance and the narrative but also in the way they’re pieced together, complete with a director (Ryan), script, props, set, and a cast. Given all of this it’s scarcely surprising that Ryan actually started out as a filmmaker, shooting documentaries alongside street photography while at business school. “By the time I graduated, I realised that I didn’t want to go into business at all and instead went to the San Francisco Art Institute to learn more about photography. I only lasted about a year and just started trying to shoot as much as possible. I then worked at a magazine as a photo editor and staff photographer for about three years in San Diego. When that went under, I moved to Los Angeles and started over. I was working in a rental house and assisting for a few years, building a new portfolio.” Ryan began applying a staged, narrative approach to individual portraits, and as the concepts started calling for more people, the scope of his shoots grew. Images such as Nog (2005) and Lamp (2006) showed him what was possible and then The Saturn

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Pro folio

(2007) marked the point where he began developing a specific lighting style, casting actors for the subjects and paying serious attention to set design. Since, he’s been steadily building a portfolio, most of it personal and done very much for the love of his craft. “Most people have a savings account,” he remarks dryly, “whereas I have a body of work. Every last dime that I’ve earned from my commercial work over the years has been ploughed into these shoots, it’s a complete passion project. And they can cost a fortune to produce because they’re so involved: there can be a cast of people in front of the camera, a set to design and props and costumes to organise. There’s so much planning involved, and pictures can take weeks to come together.” Until now Ryan’s work has been shared through his website and social media outlets, and his following has been growing exponentially as the images have circulated far and wide on the web. Now, however, he’s getting a fresh platform in the form of his first book. Schude is a

“I WANT PEOPLE WHO LOOK REAL. I'M NOT LOOKING FOR PRETTY PEOPLE WHO CAN SELL CLOTHES” PREVIOUS: Toaster. The Forge, Los Angeles, 2010 ABOVE: Phoot Camp. Calabasas, California. In collaboration with Lauren Randolph, 2010 LEFT: From the Phoot Camp shoot – look closely and you can find the characters from the pool party shot above RIGHT: Carol Lyn Black. In collaboration with Ross Feighery, 2012

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Technique

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Technique

IAN FARRELL

The clock’s ticking, the team are getting bored and your subject’s still not arrived. Use that waiting time wisely and plan your shots, says Ian Farrell

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© JAMES O JENKINS & WILL AMLOT

Technique

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© IAN FARRELL

Technique

LEFT: When their plan was scuppered at the last minute, James O Jenkins and Will Amlot found themselves with just one shot to get this portrait of Nelson Mandela RIGHT: Know your lighting kit inside out so you’re set up, ready to capture your subject quickly and efficiently

Shoot the plan The secret to coping with a shortage of shooting time is to have a plan and stick to it. When you cut out the amount of time you spend looking for a location, setting up lighting and choosing a lens and a viewpoint, what remains really doesn’t take very long at all. Caroline Spellman’s portrait only went well because, while the journalist was busy arguing with her, I was busy looking for the places I was going to photograph her. I shot ‘empty frames’ and made sure the light looked good and the background was uncluttered. I knew what lens I was going to use and where I was going to shoot from. So when it came to it, I knew I only needed a minute and a half to get the pictures I wanted. The hard part was already done. In this respect the job was no different to any other commission: plan the shoot, then shoot the plan. It’s just that some of the planning was done without the subject there. When doing this it’s handy to have someone else around to practise on – your assistant or someone from the venue who can help you out. As a last resort you can even stand in yourself with the camera on a tripod and tripped with its selftimer. You’ll feel silly doing it, but that’ll soon pass when you get the shot you’re after. Two photographers with experience of shooting under pressure are James O Jenkins and Will Amlot, who had just moments to capture a portrait of the late former president of South Africa, Nelson Mandela. “We were commissioned to shoot a portrait of Mandela when he came over to the UK to unveil a statue of himself in Parliament Square,” James recalls. “He was staying in the Dorchester and the plan was to photograph him with a maquette of the statue, before shooting pictures of him with various VIPs and guests.” James and Will knew they would only have a few minutes, and planned every detail accordingly, from the lighting down to the colour of the curtains and carpets. But on the day of the shoot they stumbled straight into a problem: “Mandela walked in very slowly, as he was quite frail by this point. After a few test shots, one of his advisors came over and told us that we couldn’t use flash, because of a problem with Mandela’s eyes. This was a bit of a disaster as we’d intended to spotlight him with a beauty dish used up close, and there wasn’t @PHOTOPROUK

“IT HELPS TO HAVE AN EMERGENCY PLAN IN YOUR HEAD. IN FACT HAVE TWO” enough time to set up something else. “In the end we agreed that we could use flash but just once for each group picture, and once for our portrait. So as well as only having a few moments to shoot, we had the extra pressure of having just one frame. Thankfully it was OK and the image was great.” James and Will’s experience teaches us an important lesson: that sometimes things will go wrong that you can’t plan for, and that you need to be prepared for those ‘unknown unknowns’. “It helps to have an emergency plan in your head,” James adds. “In fact have two. That way – like cameras – you have

something to fall back on when the first plan goes wrong.” Exactly what your emergency plan will look like might depend on your style of shooting, but, in general, you should try and keep it simple in terms of lighting and composition. Almost every location has a window of some kind that you can use as a light source, so practise what you can do with only that, a reflector and a blank wall. Alternatively, if you prefer shooting with artificial light, what can you achieve quickly using the speedlightstyle flash you have in your bag, used off-camera and maybe bounced off a ISSUE 109 PROFESSIONAL PHOTO 041


Software technique

Before

SOFTWARE NEEDED: Lightroom, SpyderCheckr plug-in DIFFICULTY LEVEL: Easy

After

Make use of the SpyderCheckr to speed up your postproduction work by following these ten steps to achieve a more accurate colour representation.

Head out on your shoot and set up the lighting as required. Once you are happy with the set-up, give the model the SpyderCheckr to hold or place it in front of the object and take a photo of it. Move the SpyderCheckr out of the shot and continue shooting as normal.

Head back to the studio with your images, import everything into Lightroom and then find your SpyderCheckr image. First, you will need to crop your image down to the four white dots in the corners of your SpyderCheckr. Straighten the image where necessary.

Let’s check the white-balance of the image. In the Develop module, use the white-balance tool to click on the 20% grey patch in E2. The 20% grey patch will give the best white-balance reading, although you can use any of the light grey squares if needed.

Next let’s correct the exposure. Hovering over the white square in E1, you’ll see an R, G and B percentage value appear just below the histogram on the right-hand side of the Develop screen. Adjust the exposure slider accordingly so that these three numbers each sit as close to 90% as possible.

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Software technique

Calibration

Colour corrections TIGZ RICE

Every photographer wants the colour in their images to be accurate, and some simple software can make post-production a lot easier

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olour accuracy plays a vital role in photography, whether used subtly to enhance atmosphere or to portray an accurate colour representation of an object for publication or online retail. Whilst screen calibration is brilliant to make sure your screen is outputting reliable and accurate @PHOTOPROUK

colour, there is still an element of trial and error when trying to obtain a true colour match with the original object. One tool that can take the guesswork out of your retouching process and speed up your post-production workflow is the SpyderCheckr from Datacolor, which allows you to calibrate any in-camera

colour discrepancies via a simple to use Lightroom (or Camera Raw) plugin. Featuring 48 spectrally engineered colour patches, it creates a custom preset that can be applied to your images for instant precision colour matching. Want to know more? Here’s how it works‌ ISSUE 109 PROFESSIONAL PHOTO 045


red alert! IAN FARRELL

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Prepare to be amazed as we dive into the Red Bull Content Pool – home to the world’s most breathtaking images

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© DIMITRIOS KONTIZAS/RED BULL ILLUME

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Best of Red Bull

CASE STUDY: JASON HALAYKO I started shooting freestyle motocross here in Japan for my friends. Some pictures started to get into magazines and I thought, ‘if I keep this going then I’ll get printed and I can work on my photography’. So that’s exactly what I did. Then when Red Bull came into Japan and started doing FMX events, they asked the magazine to recommend a photographer, and they mentioned me. So I went and shot this event in Yokohama, in an old abandoned storage facility, and when they saw the results they really liked them, and said I had that ‘Red Bull style’ they were looking for. After that I said yes to simply everything they offered me – music, dance, and other sports. As the Red Bull scene in Japan grew and grew they gave me more and more, to a point that now, in the spring and autumn, I’m shooting almost every weekend. I’ve been doing that for six or seven years.

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The distinctive look of a Red Bull photo is hard to describe, but I guess it’s dynamic, clean and – most importantly – tells a story. The best photos tell the story of an entire event. Portraits are clean-cut too, and often use new techniques so they look cutting edge. Red Bull likes new ideas that result in pictures not seen before – like LED lighting. There was a guy who put them on the arms and legs of a breakdancer, and you see them spinning around in the dark. That was a very creative approach. The next thing I’m doing is this weekend: the Japan finals for BC1. I’ve shot that all the way through, so I know all the beat boys – they’re all my friends now. Shooting the same events time after time is one of the things I enjoy the most. I can really connect with the people and I feel like I’m part of the event too. jason-halayko.com

ABOVE: Soul Flyers Fred Fugen and Vincent Reffet perform during training in Austria for The Ultimate Skydiving Combo, skydiving from 33, 000 feet (10km) above the Mont Blanc, in Austria, 13 May 2014 RIGHT: Sebastien Ogier of France races during the FIA World Rally Championship 2014 in Coffs Harbour, Australia, 12 September 2014

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© JAANUS REE/RED BULL CONTENT POOL

© DOM DAHER/RED BULL CONTENT POOL

Best of Red Bull

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The degree of seriousness that Red Bull places on imagery gives photography a kudos similar to that of the extreme sports that the company is associated with. It should come as no surprise, then, that the company also runs an event that’s centred on photography: Red Bull Illume – Image Quest 2016. This top-end competition is run every three years and is open to anyone, not just the professionals already shooting for the Red Bull Content Pool. Red Bull Illume aims to showcase the very best of creative sports photography, and the results are absolutely breathtaking – have a look at redbullillume.com to see for yourself.

The winners’ exhibition travels to countries all around the world, giving photographers the kind of exposure that can transform careers. In fact, many Red Bull Illume winners have gone on to shoot for Red Bull as a result of entering the competition – something to consider if you think your own photography could do with a bit more ‘wings’. Red Bull events are held all over the world. Head to one, take some great images of your own and have a can or two!

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Project: Vincent Laforet

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very rarely take on photographic assignments these days,” says filmmaker and photographer Vincent Laforet, “just five or so in the past five years, but this one intrigued me because it involved a flight over New York.” The assignment was a Men’s Journal commission for images to illustrate an article about psychology. “I proposed shooting the city from an unusually high altitude so we could capture the lines that are formed by the streets of New York at night. I’ve always thought that from a high altitude the streets looked like brain synapses – at least to me. “However, the client wasn’t so keen, and preferred that I should shoot from a lower altitude of around 1500 feet and at noon: they couldn’t visualise what I was trying to get at. So it became a bit of a stand-off for a while, but eventually they agreed to let me take the pictures I wanted so long as I took the shots they were after as well. It meant that I was finally able to capture some of the images that I’d been dreaming about for decades. “Up until very recently cameras simply wouldn’t have been able to cope with what I wanted to do. Helicopters vibrate pretty significantly and you have to be able to shoot at a relatively high shutter speed (even with tools like a gyroscope) and that makes it incredibly difficult to shoot after sunset. However, working with the latest tools I can now achieve clean files at high ISOs: up to 1600 with the Canon EOS 5DS and then 3200 or even 6400 with the EOS-1D X. I also had with me a series of f/1.2 to f/2.8 prime lenses, including some tilt-shift types.” While he might have got his technical bases covered, Vincent still didn’t find it easy to convince helicopter pilots that the shoot was such a good idea. At the seriously high altitudes he wanted to reach – 7500 feet and upwards – it would be close to the levels where oxygen masks would have been required, maybe halfway between conventional aerial photography and something approaching a satellite image. So high in fact that the curvature of the earth starts to become apparent. “One veteran pilot that we often fly with refused to go up to the altitude we wanted,” says Vincent. “He said that helicopters were not meant to live in that realm, which I kind of agreed with when I finally got back down to earth. I’ve flown on aerial missions over the Big Apple more than 50 times during the past decade and a half, and 070 PROFESSIONAL PHOTO ISSUE 109

I’ve flown several hundred hours of photo flights around the world, and this was by far the most frightening flight of all, even though nothing eventful whatsoever happened. It was quite bizarre while we were up there: the flight required extensive planning and special clearances, and we were actually flying above all of the airline traffic landing at JFK, LGA and Newark airports, which was kind of interesting.” It also crossed Vincent’s mind while he was leaning out of the open helicopter door with just a full body harness to hold him in how long it might take him to hit the ground should he happen to fall out at that height. “Of course I knew there was no way this was going to happen since the harness is tried and true,” he says, “and everything else, from cameras to lenses to lens caps, is secured to make sure that nothing can drop, but you do think about the fall and how long you would have to think things over from that height all the way down to the ground below.” Evolving project After the shoot over New York, the seed had been set. Vincent was fired up to continue his new-found project. He consequently travelled to other major US cities and discovered that every place had its own hallmark, its own set of distinguishing features that set it apart from anywhere else – whether that be the inky blackness of the desert surrounding the bright lights of Vegas or the never-ending sprawl of the Los Angles suburbs. Interestingly he also discovered other things, such as the way poorer neighbourhoods in a city were marked out by their antiquated yellow sodium lights, while more affluent parts had modern daylight-balanced lighting. The urge was there to expand the remit and to head for the bright lights of Europe, but the cost was prohibitive: the price of the helicopter hire on its own could amount to $40,000, and there were endless time-consuming permissions to obtain on top. He needed a sponsor, and one arrived in the shape of G-Technology.

PREVIOUS PAGE: Las Vegas ABOVE: Piccadilly Circus, London RIGHT: Los Angeles FAR RIGHT: Las Vegas

“I’VE ALWAYS THOUGHT THAT FROM A HIGH ALTITUDE THE STREETS LOOKED LIKE BRAIN SYNAPSES” WWW.ABSOLUTEPHOTO.COM


Project: Vincent Laforet

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Shotkit: In the bag

inside out Ever wondered what kit your fellow photographers use and why? Wonder no more as we open up the gadget bags of some of the world’s leading shooters

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Shotkit: In the bag

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© MIKE KELLEY

s there anything more fascinating than taking a peek into a fellow pro’s gadget bag? Finding out what, when and how they use their kit can help us make decisions when it comes to buying our own kit, as well as give a glimpse into how other photographers work. It’s also great just to be nosey! Now, thanks to a new digital book, you can delve into the gadget bags of some of the world’s top photographers across a wide range of disciplines. The Shotkit book has been produced by Mark Condon, the man behind the excellent website of the same name (shotkit.com), and it makes for essential reading for any photographer who loves to lust over gear. The 170-page book opens up the gadget bags of 30 photographers, plus there’s heaps of bonus material too. Here, we’ve selected four kits for you to pore over, but if you’d like to get a copy of the book for yourself, check out the special offer on page 85.

mike kelley I am an architectural and fine art photographer based in Los Angeles, CA. I’m most known for my architectural work, which combines long exposures, light painting and a measured dose of post-processing to extend the decisive moment from a fraction of a second into a few hours or more. I’ve been photographing architecture for about five years now and in those years have been lucky enough to travel around the world on assignment, see some absolutely breathtaking spaces, and go through every piece of lighting equipment you can possibly imagine! This is the culmination of five years of trial and error with the right gear, and happily I’ve finally settled in on what I think is all I need. My architectural photography gear list: 1 GAFFER TAPE Tape for everything. Pink/yellow/orange tape for visibility. I go through this like water. 2 BOSE SOUNDLINK MINI Great for turning a completely quiet and awkward set into a much more relaxed environment. The sound quality out of this thing is just incredible for the size of it. 3 X-RITE COLORCHECKER Always great to have a solid reference of correct colour when shooting challenging interiors. The notion of perfect colour pretty much goes out the window on location but this helps me get close. 4

ENELOOP RECHARGEABLE BATTERIES

Being a photographer and not owning rechargeables is pretty stupid. These have saved me hundreds, probably thousands, of dollars over the years. I buy Eneloops because they last forever and don’t drain on their own, work with speedlights and remote triggers, and hold a lot of charge. @PHOTOPROUK

ISSUE 109 PROFESSIONAL PHOTO 075


Buyers’ guide: Wedding presentation

Buyers’ guide

One for the album ROGER PAYNE

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ou may be the best wedding photographer ever to have walked the planet, but your clients (and potential future clients) will judge you on the quality of the end results. And that means presenting your work in the right way. The importance of choosing the right album or photo book to show off your images can’t be stressed enough and there’s a bewildering array of options to choose from. To narrow it down, we contacted some of the key album and book manufacturers and asked them to suggest the best products from their ranges for the working pro. Here’s what they came up with, but if you want to find out more make sure you visit their respective websites.

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096 PROFESSIONAL PHOTO ISSUE 109

ONE VISION

Offering a wide range of presentation options for the professional, One Vision recommends two products for wedding use: Photo Cover Albums and Allura Matted Albums. As their name suggests, a Photo Cover Album has a sealed photographic cover with a choice of nine different soft touch leatherette colour options for the spine and back cover. Alternatively, you can choose a full photo wrap. The pages in the album are printed photographically on to Fujifilm paper (unless you choose the Fine Art option) and the album itself is handmade and comes supplied in its own black presentation box. Sizes range from 8x6in to 16x12in and can contain between ten and 60 pages. The Allura Matted range offers a huge range of cover options and bevelled cut mounts along with high-quality prints. While many customers will want to opt for the nubuck or suede cover options, you can also choose an acrylic or photographic cover. Sizes range from 10x10in to 16x12in with 20 to 40 pages possible. Production time is up to 15 working days. onevisionimaging.com

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APERTURE BOOKS

Aperture Books produce high-quality photo books at competitive prices. Of particular relevance to the professional photographer are the A3 deluxe coffeetable books and the Horizon Layflat Creative Collection. The coffee-table books are made with carefully selected fine art stock that contrasts well with wedding images. Following printing, each page is creased within the book block precisely enabling easy page turn and reducing ‘bounce’ when the book is laid open. The block is then glued and clamped before being drilled and stitched by hand. The Horizon Layflat Creative Collection gives customers complete control over cover design. On top of this flexibility, the Creative Collection delivers optional extras including padded covers, matt laminate, metallic paper and rounded corners. After creating a book using the free software, order online then sit back and relax. All books are thoroughly checked by the company’s pre-press department before printing and then again by the quality control team before despatch. aperturebooks.com WWW.ABSOLUTEPHOTO.COM


Buyers’ guide: Wedding presentation

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DUNNS

Look at Dunn’s handcrafted Avante album range, which offers a premium standard in digital album manufacture and print. Albums are expertly printed and finished, showcasing your images in full panoramic spreads. Avante albums are printed using Fujifilm photographic paper with options of lustre, gloss or metallic finishes. Cover design can be personalised with a choice of full acrylic, acrylic tab or full image wrap. These are complemented by a wide range of cover materials. Avante albums come in seven sizes and are beautifully packaged and presented in a premium black box. To complement your main album, Dunns also offers a hinged lay-flat book range, which is a cost-effective option for parent or family books. Also available as book sets they come in three sizes. dunnsimaging.co.uk

PHOTO PRODUCTIONS

Photo Productions provides premium photo books and claims to combine high-quality with unbeatable prices. Eight album sizes are available with bevelled acrylic covers. Pocket and parent books are, uniquely, made in exactly the same way as the main albums so you’ll get true lay-flat, panoramic spreads. The company offers an easy order and proofing system. An expert design service is included in the price and includes free brightness and colour correction. Proofing is via PDF with every photo numbered to make changes easy. If you’d rather supply your own design, you’ll get a 10% discount. No corners are cut when it comes to production with a 23-stage printing and binding process used to create your book. Every album also comes with a presentation box and you’ll receive a free photographic copy of the album cover. Extra copies ordered at the same time will get 30% off, plus UK delivery is free. photoproductions.com 5

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@PHOTOPROUK

FOLIO ALBUMS

Folio Albums creates simple and elegant, lay-flat books with an almost invisible crease. Each book is produced with the highest quality archival papers and comes with genuine leather as standard. All the fine art books are square to suit landscape and portrait styles; sizes range from 12x12in to 6x6in. The company also produces a luxurious matted album. The albums are produced to the same exacting standards synonymous with Folio Albums. All spreads are printed on high-quality archival papers and hand mounted with conservation-grade white mattes for a clean and timeless appeal. Each album is handmade with the utmost attention to detail using eco-friendly materials to create an album to cherish. The new matted album is the perfect way to showcase any type of photography for a beautiful keepsake that will last a lifetime. folioalbums.com ISSUE 109 PROFESSIONAL PHOTO 097

Professional Photo 109 sampler  

Get on the fast track to saleable portraits & stand-out presentation, plus revealed: kit pros can’t work without

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