THE UK’S ONLY MONTHLY MAGAZINE FOR WORKING & ASPIRING PROS
ISSUE 153 £4.75
LIGHTING SECRETS Top tips for portrait shots that sell
PRO KIT REVIEWED Canon mirrorless lenses, bags, lighting & editing software
Inspiring images from our Wedding Photographer of the Year contest
MAX YOUR MARKETING Five creative ways to boost your business
MIRRORLESS MOVIEMAKING Is full-frame best?
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Three pro monitors rated
OPENING SHOT /
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/ OPENING SHOT
Continuous light is becoming a genuine option for professional stills, thanks to the likes of Rotolight's Anova PRO 2... WORDS KINGSLEY SINGLETON / IMAGE JASON LANIER
t's not so long ago that professional lighting revolved around using flash, and flash alone. But the last few years have seen manufacturers making great strides in continuous lighting, in terms of output, quality and portability. Take this image, for example, shot by Jason Lanier at a location on the River Thames, Lightship 93, and using the Rotolight Anova PRO 2. On this occasion the light was capable of holding its own on a bright sunny day, something not possible from a portable unit until recently. The key to success on this front is having lots of power to play with and, at 3ft, the Anova PRO 2 is capable of generating 10,700lux, well over f/11 at ISO 100. However, you need to be measured in the amount of light you use. "The goal of light isn't to blast it so hard you completely obliterate all the shadows and highlights," explains Jason. "If you do that you'll end up overexposing parts of the model's face. With a light such as the Anova Pro 2 the fact that you're working with hundreds of tiny bulbs means that its output is inherently going to be soft and dispersed. This in turn means you won't need to use any modifiers. While I usually love working with these, trying to shoot in a restricted space with a 36 to 48 inch modifier wasn't an option." The Anova PRO 2 also offers a High-Speed Sync flash, syncing up to 1/8000sec, and can be triggered from up to 200m away. All good things for pros to take advantage of.
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UPFRONT / NEWS
NEWS / VIEWS / EVENTS / EXHIBITIONS / NEW GEAR
WORDS KINGSLEY SINGLETON
Images courtesy of Proud Galleries © Norman Seeff
SHOOTING UP THE CHARTS PROS WANTING TO make their mark in the music business are in for an inspiring treat. Proud Galleries is hosting Sessions in Sound: Photographs by Norman Seeff, an exhibition of Seeff’s acclaimed music photos, which features portraits of some of the 20th century’s biggest musical icons. Subjects range from Johnny Cash and Patti Smith to Joni Mitchell and the Rolling Stones. Seeff was born in South Africa in 1939 and moved to New York aged 29, eager to explore his creative passions, and got his break photographing Robbie Robinson and The Band for the liner notes of their album Stage Fright. He went on to open his own studio on Sunset Boulevard and developed a distinctive method of creating an authentic connection with his subjects, something that’s kept his portraits popular with modern-day audiences. / The exhibition is open now until the 13 January 2019 at Proud Central, 32 John Adam Street, London, WC2N 6BP. It’s free to enter and open Monday to Saturday from 10am till 7pm; and Sunday from 10am till 6pm. proud.co.uk
© Juno Calypso
RPS IS FOR SUCCESS THE ROYAL PHOTOGRAPHIC Society has announced its 140th Awards, with esteemed figures from the worlds of art, science, film, publishing, and education celebrated for their commitment to photography. Nan Goldin was this year’s big winner, scooping the prestigious Centenary Medal as well as being awarded with an Honorary Fellowship from the RPS. The awards recognise her “sustained and significant input to the art of photography, including her deeply
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personal and candid portraiture.” Other winners included Juno Calypso. The young British photographer, one of whose successful images can be seen, left, received the Vic Odden Award, “for a notable achievement in the art of photography by a photographer aged 35 or under, studying photography in the UK.” For the full list of awards, make sure you check out the RPS website. /Rps.org/about/awards
NEWS / UPFRONT
ZEISS TO SEE
NOT CONTENT WITH making pretty spiffing lenses, Zeiss is releasing a full-frame camera, the ZX1. The new model, which looks very Buck Rogers, has some interesting innovations, the most notable being that Lightroom is built in. Coupled with Wi-Fi connectivity, you can therefore shoot, edit and upload images without a computer. Despite Zeiss calling it a ‘mirrorless’ camera, the ZX1 is essentially a full-frame compact, like the Leica Q or Sony RX1. It uses a 37.4-megapixel sensor and has a fixed Distagon 35mm f/2 T* autofocus lens. The camera’s 4.3in touchscreen allows editing of Raw images in Lightroom, via what Zeiss calls a “unique user interface”, so it’ll be interesting to see how it compares to using the regular software. There’s also 512GB of internal memory, but no card slot. As for its design, well it’s edgy, you’d have to say. What Zeiss says is: “The slightly bent screen separates the live view from the control elements, making camera operation comfortable and straightforward.” Price is TBC, and release is early 2019, and we’re certainly interested in trying one out. / zeiss.com/zx1
GET BOOKED! © Kadir Van Lohuizen_NOOR
THE NINTH edition of the Carmignac Photojournalism Award has just been announced, and it’s gone to Yuri Kozyrev and Kadir Van Lohuizen (collectively NOOR). Selected by an international jury, the winners receive an endowment of €50,000. ‘Arctic: New Frontier’ is a pioneering double expedition that explores the effects of climate change, tourism, militarisation, exploitation of gas and mineral resources, and the opening of trade routes on the entire Arctic territory, and the impact of these changes on the local population. / fondationcarmignac.com
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Profoto’s A1 has fast become a photographers' favourite, with the size and weight of a speedlight, but boasting studio quality output, fast recycle times, and a round emitter delivering soft and natural illumination. It’s available in Nikon and Canon fits, and right now, you can get an extra battery for free when you buy an A1 – and two extra batteries when you buy the twoflash A1 Duo Kit. But make sure you hurry – the offer is only valid until 31 December. / profoto.com
THANKS A 110 MILLION Nikon’s production of Nikkor lenses, begun in 1959, has just topped the 110 million mark. The total now includes the new Nikkor Z models, soon to be joined by the Nikkor Z 58mm f/0.95 S Noct, bringing the current lineup to over 100 different models. / Nikon.co.uk
PERFOCAL.COM IS a website connecting pros with local jobs. It’s claimed to reduce marketing, editing and admin time; “after a shoot, photographers just upload their unedited images to Perfocal.com who handle the editing and delivery.” Services start at £69 for a 30-minute shoot, £99 for an hour, rising to £499 for eight hours. The obvious question is: what’s your cut? According to Perfocal’s website, you’ll get “£40 per hour or more net income... and pay is automatically released shortly after delivery of the edited images.” / perfocal.com
LIVE AND LEARN The SNAP Photography Festival is a week-long creative retreat aimed at wedding and lifestyle photographers, and is run in partnership with The Photography Show. The festival includes an array of talks, workshops, live shoots and activities. But it’s also a relaxing experience, so along with the education you can expect fireside hangouts, beach trips, walks, BBQs, yoga, massage and dancing. In 2019 it’s running from 29 April to 3 May at Winscome in Somerset. / Snapphotofestival.com
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MARKETING / 5 CREATIVE IDEAS
MAX YOUR MARKETING!
Pre- and post-Christmas is traditionally a quiet time of year, so it’s crucial to have innovative and surprising strategies in place to generate business and set yourself apart from the crowd WORDS TERRY HOPE
Spice of life Variety is the name of the game for Joe Laws and he’s made sure that he’s on top of every genre he offers... THE ACCEPTED WAY of working for most photographers is to specialise in one or possibly two related genres, such as weddings and portraiture, to do these well and to become known for your speciality. For most ‘Jack of all trades’ out there who are trying to cover the widest range of disciplines, you could add ‘master of none’, but there are a few who have managed the difficult trick of tackling a seemingly disparate number of specialities, while still doing them all well. One of those to have triumphed in this area is Newcastle-based photographer Joe Laws. His business offers everything from themed fairy shoots for children through to superhero shots, weddings, model portfolios, pin-up sessions, boudoir shoots, portraiture in and out of the studio, dance photography, pet photography, family sessions, newborns and children. By covering such a huge and diverse range of subjects, Joe is extending his potential clientele, but how is he managing to tackle all these disciplines while still doing them all justice? “I actually love the idea of having so much variety in my business,” Joe explains, “and I’ve
found a number of common threads, such as lighting set ups and the ability to talk to people and put them at ease, that run through the different disciplines I’m tackling. It also helps that I’ve got the space for three studios and I can leave a set in place for a while and work in one of the other spaces should I need to.” There are also certain factors that underpin Joe’s whole approach to photography. For example, he’s clearly enthused by the business he’s in and is always looking to challenge himself to do something different. Each week he starts with what he calls ‘Happy Monday’, where he deliberately throws his usual approaches out the window and mixes things up to see what comes out the other end. He’s also fastidious about his planning and doesn’t leave things to chance, something that’s exemplified by his ‘enchanted fairies’ offering. “So much of what I’m after is down to achieving natural expressions,” he says. “With the fairy shoots, for example, I build a set that looks as authentic as possible and reflects the time of year we’re shooting in. At the moment it’s a winter theme, while come the spring it will have daffodils. I also like to build a story
IMAGES: Achieving natural expressions is the aim for Joe, helped by the authentic sets and props
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5 CREATIVE IDEAS / MARKETING
and so before the shoot, the children will get an invitation from the fairies to come and see them, so they’ll be excited before they arrive.” The costumes are also bespoke. They’re centred on a dance leotard, but have been accessorised by creative designers that Joe knows. They look amazing in the pictures. This attention to detail comes through in the final images. The superhero shoots are similarly planned out in advance with an adventure conjured up for the subjects. The result is real expressions and a time in the studio that subjects genuinely enjoy. Joe also has a happy knack of getting on with subjects of all ages and his empathy extends to pets, with the result that his animal portraits are natural and uncontrived. He’s also not averse to trying out fresh ideas in his Monday mix-up, such as posing a dog in the set that’s usually reserved for fairy portraits, with results that can be surprisingly effective. “People love their pets,” he says, “and can often be prepared to spend more on having pictures taken of them than they might on their own families. With children and dogs, there is a similarity in that a certain amount of negotiation might have to go on involving sweets and biscuits. It’s amazing how much cooperation you can get from both subjects if there’s a treat involved at the end!” A large collection of backdrops and props, including a selection from the company Click, are kept on hand to help Joe create the illusion he’s after in his studios. These are used in every genre, from newborn photography through to pin-ups and portraits. With each discipline he tackles, Joe’s focus is entirely on achieving the best result he can. This approach is crucial since clients will notice very quickly if a photographer is bluffing and doesn’t have the required skills or empathy for a subject area to deliver what’s required. The lesson is simple: offering a variety of services can keep you busy at times of the year when demand is naturally less, but you should never adopt this approach unless you’re ready for the hard work that will come with the territory. However, if you have a full range of photographic skills, a willingness to continually learn from your experiences and can apply this knowledge across the board to whatever job you might be tackling, then the chance is there to widen your reach and to sell your services to the widest possible audience. / joelaws.co.uk
“With children and dogs, it’s amazing how much corporation you can get from both subjects if there’s a treat at the end” @Pro_Photo_UK
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PROJECT / FINE ART
WORDS TERRY HOPE
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FINE ART / PROJECT
Julia Fullerton-Batten’s fine art projects began as a creative outlet. Now they’re very much her day-to-day work, generating print sales and bringing in clients
IMAGES: Julia FullertonBatten’s latest project, Old Father Thames, takes stories from the iconic river as its inspiration. This image, The Ladies’ Bridge, shows the project’s scope and complexity
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AN YOU MAKE your living doing what you really love? It’s a question we’ve probably all asked ourselves at one time or another. For Julia Fullerton-Batten, it certainly seems that you can. Graduating from advertising photography, she developed worldwide acclaim as a fine art photographer through a series of captivating and widelyexhibited projects. So what prompted the change? “I always found my personal work more satisfying,” Julia explains, “as it was all my own creation; a raw idea becoming a finished print, and something that I controlled completely from finding models, clothing, and props, to locations and then on to directing my subjects and lighting the set.” From small-scale shoots, her compositions grew more elaborate, requiring larger crews and more complex lighting designs, and culminated in the semi-autobiographical series, Teenage Stories, in which she narrated the metamorphosis of a girl becoming an adult. For that, she won several awards, “one of which resulted in my first book, and I got a commission from The National Portrait Gallery to shoot portraits of prominent people in the UK health service.” Now, although she “wins the occasional assignments for large advertising
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GROUP TEST / MONITOR REVIEW
THE BIGGER PICTURE GROUP TEST
A good-quality monitor with all the necessary bells and whistles is a prerequisite for efficient post-production; We look at three sub-£1000 models
WORDS ROGER PAYNE/JULIAN MITCHELL
PHILIPS BRILLIANCE 328P6VUBREB MONITOR £559 SPECIFICATIONS
SCREEN SIZE: 31.5in (16:9 aspect ratio) RESOLUTION: 3840x2160 (4K UHD) INPUTS: DisplayPort 1.4, two HDMI 2.0, USB-C 3.1 Gen 1, four USB 3.0, Ethernet REFRESH RATE: 60Hz COLOUR GAMUT: 138% sRGB, 94% AdobeRGB CONTRAST RATIO: 3000:1 WEIGHT: 9.36kg (with stand)
ANNOUNCED A YEAR ago and now available to buy, this Philips monitor is well specified and well priced for the working professional. The 4K UHD resolution is equally at home chunking through emails and accounts as it is for editing stills and video. It’s good for gaming too; not that you have time for that, of course. Having recently upgraded to a USB-C only Macbook Pro, the 328P6VUBREB’s docking station was particularly attractive to me. This enables you to plug in a range of peripherals to the monitor and then run a single cable through to your computer. It’s neat and tidy, plus there’s the added benefit of it also charging your laptop while you work. If you don’t have a USB-C connection, there are other more conventional ports (HDMI, Ethernet, USB 3.0 etc), but it’s nice to know that you have a degree of future-proofing should you switch to a USB-C device in years to come. I had no problem with set up. Out of the box, the stand attaches simply enough and it features a VESA mount on the back of the screen so you’ll have no problem
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mounting it to a wall or desk arm should you so desire. It’s also good to see a range of cabling supplied. With over 1.07 billion colours to call on and HDR technology, it’s no surprise that the screen provides a vibrant image. It uses a VA (Vertically Aligned) LCD panel, which is better than an IPS monitor for head-on viewing. This, to me, seems like the obvious type to choose for a pro – I’ve never edited images at 45° to my monitor, but perhaps I’m in the minority. Different preset options are provided for applications such as Gaming, Movie and Office, but I went for the obvious Photo. There is a Low Blue Mode, which is designed to cut down eye damage from blue light, which is fine for office tasks, but I wouldn’t advise using it for editing. Other features include PIP (Picture in Picture)
and PBP (Picture by Picture) which allow two input sources to be displayed simultaneously either with one large and one inset (PIP) or side by side (PBP). My only real gripe with the 328P6VUBREB is the way you change functions. The menus are brought up and navigated by means of touch-sensitive areas on the bottom right of the monitor. While I appreciate this makes for a more svelte bezel, they’re not the easiest controls to use. Physical buttons would do for me.
PROS: Good all round monitor with vivid colours and handy USB-C docking station CONS: Unnecessarily fiddly menu controls
MONITOR REVIEW / GROUP TEST
“Crucially it also comes with 99% of the Adobe RGB gamut”
BENQ SW2700PT £599
SCREEN SIZE: 27in RESOLUTION: 2560x1440 INPUTS: DVI-DL, HDMI, DisplayPort (v1.2), USB 3.0 (downstream x2, upstream x1), SD card reader REFRESH RATE: 60Hz COLOUR GAMUT: 100% sRGB, 99% AdobeRGB CONTRAST RATIO: 1000:1 WEIGHT: 9.17kg
OVER THE PAST few years BenQ has moved from being a monitor manufacturer delivering products seen as a budget option to one to be taken seriously for professional products. The 27in SW2700PT is a case in point and, while not offering 4K output, it delivers an impressive line-up of features for less than £600. For a start it offers 100% sRGB coverage – the most widely used colour space – but crucially it also comes with 99% of the Adobe RGB gamut; rare to find in a monitor at this price point.
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So, what does that stat actually mean? sRGB is the older and most widely used colour space, while Adobe RGB represents around 35% more colour ranges. Although generally considered to be the better of the two, many less well-specified monitors can’t display the full Adobe RGB colour space, so to have 99% coverage is a huge bonus. To accommodate this the screen on the SW2700PT is set at 2560x1440, less than what’s offered by the other two units reviewed here, but in practice on a 27in screen the image quality achieved was still perfectly adequate. Other features help to redress the balance. The monitor comes with a customfit hood that helps to reduce distracting reflections. It also comes with a stand that features height markings, so you can set it up exactly the same each time and also easily swivel to a portrait orientation should you so wish. I also appreciated details such as a USB 3.0 port and SD card slot, so it’s
easy to input files. Colour management is crucial when you’re editing, so the fact that out-of-the-box calibration is so good was a major plus point, and it only required the slightest of adjustments to get to the optimum setting. It’s also clearly been designed with the end user in mind, so I was impressed by the quality of the image I was looking at and didn’t feel that I was being undersold by the screen resolution. That said, for video editing it could be that 4K is a minimum spec these days, but if you’re looking to edit stills only, this monitor could offer you all you’ll ever need.
PROS: Perfect colour with near-full Adobe RGB gamut and full sRGB coverage CONS: Not a 4K monitor, but still a good balance of screen size and resolution
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VIDEO / WHICH MIRRORLESS?
NEW KINGS OF VIDEO Which latest breed of mirrorless cameras is best for shooting moving images? WORDS ADAM DUCKWORTH
hen it comes to shooting video, mirrorless cameras have some big advantages over DSLRs. The smaller size, permanent Live View, often an EVF you can still use while shooting, plus lots of video-specific features like advanced video autofocus and built-in image stabilisation mean they are often a better buy for the image-maker who puts emphasis on shooting moving images. And the recent barrage of mirrorless launches from Canon, Nikon, Fujifilm and Blackmagic are taking the technology even further. But taking a camera clearly designed for stills and adding more features for movies, doesn’t make a camera perfect for filming. There are still the handling quirks and often handicapped specs that you have to work around as each manufacturer brings a wildly varied approach to the filmmaking side of its mirrorless offerings. And just as in stills photography, there is the issue of sensor size. Larger sensors cost more and necessitate the use of larger and more expensive lenses, but often give the ultimate in image resolution and low noise. However, for video, things aren’t as simple as ‘bigger is better’. Smaller sensors – such as the industry-standard Super35 – can read data quicker, so they can often output their footage at higher bit rates and even in Raw for a boost in quality of the footage. Plus, less issues with the blight of rolling shutter, which can ruin panning shots. We take a look at the newest cameras on the market to discover the best.
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£1055 blackmagic design.com
BLACKMAGIC POCKET CINEMA CAMERA 4K
It might be the least well-known among photographers, but Blackmagic makes high-end video kit that's affordable and spec-packed.
WHICH MIRRORLESS? / VIDEO
NIKON Z 7 It's the most expensive camera on our list by far and offers the highest resolution, but that's often not the best for shooting video.
£1349 fujifilm-x. com
FUJIFILM X-T3 The latest camera from Fujifilm has the best video spec and performance of any camera with an APS-C sensor from any manufacturer.
CANON EOS R £2349 canon.com
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It's taken Canon a long time to get serious about full-frame mirrorless, but the new EOS R marks a seismic shift for the conservative company.
“Larger sensors cost more and necessitate the use of larger and more expensive lenses”
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This special issue of Professional Photo looks at innovative marketing strategies that could transform your earning potential in 2019.