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WELCOME / CONTENTS

LEXI LAINE page 10

Contents 4 Opening Shot

The story behind the iconic shot of Jimi Hendrix.

6 Computer Says No

Dave Kai Piper looks at social censorship.

8 Walking on the Moon

Debunking the myth about fake moon landings.

TECHNIQUE

10 Portfolio: Lexi Laine @professionalphotomagazine

Incredible underwater shots from a photographer who, like her models, eschews traditional sub acqua gear.

@pro_Photo_mag

16 Lighting Masterclass

Our Best Bits: Anniversary Edition

Paul Wilkinson gives the lowdown on window light.

Welcome

22 Shades of Brunel

Adam Parker's fashion shoot with the Panasonic S1R.

26 The Move Towards Motion

THEY DO SAY TIME flies when you're enjoying yourself and it seriously doesn't seem five minutes ago that I was planning my first issue of Professional Photo as both editor and publisher.

However, a full year has now passed since I took that giant step and this seems like a good point to pause and to look back at some of the things we've achieved over the past twelve months. In particular I've enjoyed working with some brilliant contributors, have shared some exquisite photography and have encountered a wide range of killer kit, and we've pulled together some highlights for you here.

This issue is also intended to give you a flavour of our digital issues and I hope you enjoy the experience. Read on and enjoy!

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

TERRY HOPE EDITOR

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ISSUE THE BEST OF

2019/20

The reasons why still photographers should learn video skills and open up a vibrant new revenue stream.

32 Affinity Photo Tutorial

How to add dynamic range to your images.

BUSINESS

36 Have some fun at the fair!

Donal Doherty on the value of attending wedding fairs.

40 Lisa Devlin: My Professional Life Why there's plenty of life after you stop blogging.

42 Melissa Love

Are you setting up your portfolio to sell?

44 Sign up for Support

Should you sign up to a professional association? We round up some of the options that are open to you.

56 Make it Personal

Tommy Reynolds on the power of personal projects.

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ON THE COVER

A round-up of our favourite highlights from the past year

GEAR

60 On Test: Nikon D750

We head to Iceland with Nikon's mighty new DSLR. The cover shot of our special anniversary issue features model Kate Errington and was shot by Dave Kai Piper, who talks about the pressures created by social media on page 6.

66 First Look: Olympus E-M1 Mark III The dynamic new model from Olympus has pro style.

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69 Wheels for Your Kit

Our group test reviews roller cases built for travelling.

73 Second Hand Heroes

We take the well-priced Blackmagic PCC for a spin.

GET IN TOUCH

74 Things I wish I’d known

John Baikie reflects on the importance of being yourself.

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OPENING SHOT /

BEHIND THE LENS

LEGEND IN THE MAKING Gered Mankowitz rubbed shoulders with the greatest names of sixties pop culture, and on the eve of Woodstock’s 50th anniversary he recalls a session with the legendary Jimi Hendrix.

N

O-ONE WHO WAS THERE will ever forget the Woodstock Festival, which took place between August 15-17 1969. Held on a farm near New York and attended by over 400,000 people, it blazed a trail and set a benchmark for every rock festival ever since, while many of the performances over those three days elevated the rock stars involved to legendary status.

No one rose to the occasion more than Jimi Hendrix, whose reputation soared following a performance that included a spine tingling and unforgettable guitar version of The Star Spangled Banner. He was at the peak of his powers before his tragically early death in September the following year at the age of 27.

When rock photographer Gered Mankowitz, renowned for the work he’d done with the likes of the Rolling Stones, pressed his shutter to produce what has gone on to become the definitive image of Hendrix it was a different story altogether. Gered had previously met him in 1966, but it wasn’t until early the following year that he finally got around to setting up a photo session with him, which took place at his Masons Yard Studio in London.

At the time the guitarist was making his name by performing with his band at small venues all around the UK and he had nothing like the profile he was later to achieve. Gered

recalls that momentous day even now with absolute clarity and affection.

“He had tremendous power and charisma and took to the fashions of the day like a duck to water,” Gered remembers. “He was charming, modest, quiet and funny and a joy to work with, allowing me that wonderful moment of access that makes a great portrait.

“This particular portrait was the only shot of its type on the roll of film and it was actually the very last frame. I sensed I had caught something special and moved on to a darker background. If I had been a bit more experienced I should have taken a complete roll of this particular composition, but with the arrogance of youth I moved on!

“What I do remember is that there was no chance to take any more pictures after that in any case because at 4pm he and his band were in a rush to get away and into their van, which was parked outside, because they were performing that night in the club at the end of the pier in Hastings! I didn’t realise at the time just what I had got, but of course the picture has gone on to be regarded as a classic, which is something I’m very proud of.” PP Photograph by Gered Mankowitz © Bowstir Ltd 2019 / mankowitz.com

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UPFRONT

NEWS

OPINION

COMPUTER SAYS NO As Instagram announces tougher rules against what it considers to be ‘inappropriate’ material, fashion and beauty photographer Dave Kai Piper takes a highly personal look at social media in general.

P

HOTO SHARING SERVICE Instagram has declared a blanket review of its policies regarding what it considers to be ‘inappropriate’ content, and if you happen to be a photographer who posts sometimes edgy material, then it could mean that your view counts will plummet. While the intention, which is part of a broader set of ‘integrity’ announcements by Facebook, the parent company, appears to be designed to limit the availability of pornographic imagery, in reality anything that’s construed to be ‘sexually suggestive' could be demoted and hidden from Explore and Hashtag. Instagram is also planning to hide the number of likes a photographer might have to focus attention on the image rather than engagement, with this programme now rolling out in Canada.

While doubtless preventing the circulation of some genuinely offensive material the new ruling risks creating a situation where machine learning algorithms and content moderators are making the decision on which photos and videos are recommendable, and while ‘NonRecommendable’ photos, will still be visible to individual followers through the feed and in Stories, the broad reach that might once have been enjoyed will be taken away.

It raises the issue of how many classic studies of the past, by the likes of Bill Brandt, Man Ray, Edward Weston and the edgier work of Helmut Newton and Bob Carlos Clarke would be allowed to be shared if those photographers were working today and it could easily affect how contemporary photographers such as fashion and beauty specialist Dave Kai Piper extend their reach. We asked Dave for his views on social media in general and how he sees the new ruling.

DAVE KAI PIPER - OPINION

Jump back three years ago, it’s my birthday and my partner surprises me with a trip to London to visit a private Helmut Newton gallery. Such an amazing day with hours to revel in the work of a photographer who today would be the very person who is targeted by mainstream media’s incoming rule changes. Would a photographer like Newton be able to use Instagram?

I’ve always liked images that have a strong storyline and which can provoke thoughts and tension, which is why I found an affinity with Newton. Elements of his work fall into mine and I’ve been shooting a blend of fashion and nude images for years. I’ve been banned on Facebook before and learned a while back that my account is not really my account. Eventually I felt that putting time

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and effort into a media that I had little control over was not really for me. I know that as a photographer I’ve lost out on growing my business and my community via these free social platforms, and I’m fine with that: I’m not an ‘influencer’ and I never want to be.

A few days ago Tech Crunch reported on the fact that Instagram, - through its parent company Facebook - is having a crackdown on edgy memes and scantily clad girls, but somehow I guess this won’t affect Kim Kardashian or Kardi B. You see, this is about public perception and money. The big corporations want to be seen as trying to make their communities safer, but it seems to me that they don’t want to lose money by doing it.

Instagram says: ‘We have begun reducing the spread of posts that are inappropriate but do not go against Instagram’s Community

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This article first appeared in issue 159. For back issues please visit professionalphoto.online

Guidelines.’ Tech Crunch says this: ‘That means if a post is sexually suggestive, but doesn’t depict a sex act or nudity, it could still get demoted. Similarly, if a meme doesn’t constitute hate speech or harassment, but is considered in bad taste, lewd, violent or hurtful, it could get fewer views.’

Does this also mean that Facebook is happy to share inappropriate content as long as it generates revenue? How can something be inappropriate and not be against community guidelines? It’s a tricky line to toe in the face of shareholders and the public demands.

USER BASE

I don’t have a single problem with a company looking to protect or shape its user base. They have a free-to-use product and it’s very good too. The tricky issue is, as Facebook’s Henry Silverman explains, “As content gets closer and closer to the line of our Community Standards at which point we’d remove it, it actually gets more and more engagement. It’s not something unique to Facebook but inherent in human nature.”

So, if you are Instagram how do you encourage people to share anything they want, all day long, which by definition means having no restrictions on the upload process, while also stopping clickbait and fake news? The new direction that Facebook is taking is focusing on borderline content. This is stuff that is not removed, but hidden until it’s

NEWS popular enough to be reviewed again, but by a human rather than an algorithm. So what is borderline content?

‘Instagram has no guidelines about what constitutes borderline content - there’s nothing in Instagram’s rules or terms of service that even mention non-recommendable content or what qualifies.’ Say hello to AI censorship. Just the use of a hashtag, certain wording or if the computer system flags your image, you’re in trouble.

As photographers, where do we stand?

There are two types of people that use social media: content consumers and providers, with creatively-minded people producing more content than most. Sharing our views and images is fun and important as it helps us grow as visual communicators and learn about new things. Which is all great, but we need to play within the moving scope of where the social media bubble is going. The larger the network grows the more divisive it potentially is. Facebook understands this, thus it will show you what it thinks you want to see. This kills diversity and increases polarisation in the user

“You need to take some responsibility for the things you put out there and the same for the things you see”

UPFRONT

base. We’ve known this for a long time and the darker aspect of this is that when a user base grows exponentially the quality of user decreases at the same time.

Large communities need strong leadership to avoid being led by the masses. When you have so many opinions in so many different directions all you get is a boring average of nothing. And yet average is just what the social media giants want us to be.

Empowering the masses with control is a dangerous game. “When people interact, they end up agreeing, and they make worse decisions,” says university researcher Daniel Richardson. “They don’t share information, they share biases.” Take this thought process and apply it to the huge numbers of people using social media, and it’s alarming.

The good thing is that it’s not all doom nd gloom. The trick is to stay away from the huge groups of trolls and loud-mouthed people just causing excess noise. You need to take some responsibility for the things you put out there and the same for the things you see.

Find the smaller groups of trusted people that you can share your content with and enjoy things that they are sharing with you. Treat the social world as it treats you, with a great big dose of caution. / techcrunch article: www.techcrunch. com/2019/04/10/instagram-borderline/ Daniel Richardson: www.bbc.com/future/story/ 20160113-are-your-opinions-really-your-own

NEWS / UPFRONT

This article first appeared in issue 159. For back issues please visit professionalphoto.online

© NASA Goddard © NASA Space Goddard ©Flight NASASpace Center Goddard Flight / ASU Space Center Flight / ASU Center / ASU

NEWS NEWS / UPFRONT UPFRONT

WALKING ON THE MOON WALKING ON THE MOON WALKING ON THE MOON

Analysis of images from NASA appear to show that, despite conspiracy theories that have raged for years, man did indeed Analysis of images NASA appear to show that, despite walk on the moon from all those years ago and left behind plenty of conspiracy theories that have raged for years, man did indeed evidence prove the fact.

Analysis oftoimages from NASA appear to show that, despite walk on the moon all those years ago and left behind plenty of conspiracy theories thatclaims have raged for years, man did indeed ago have now emerged that appear to finally FOR DECADES THERE have been evidence to prove theloud fact. proof that everything was of that theon entire moon landing adventure thatyearsoffer walk the moon all those agoconclusive and left behind plenty genuine. The images come from an orbiter began with Neil Armstrong half a century ago evidence to prove theloud fact. ago have now emerged that appear to finally FOR DECADES THERE have been claims flying on behalf of the Lunar Precursor Robotic was some kind of giant hoax and that the entire that the entire moon landing adventure that thing took place in a film lot somewhere out in began with NeilTHERE Armstrong half aloud century ago FOR DECADES have the Nevada desert. Now thisbeen would, ofclaims course, was some kindmoon of giant hoax and that thethat entire that the entire landing adventure have required pretty much everyone at NASA thing took place in a film lot somewhere out beganinwith Neilsecret Armstrong half a century agoin being on the and no-one ever spilling the Nevada desert.

Nowhoax this and would, ofthe course, was some kind of giant that entire the beans and it also, of course, questioned the have required pretty much everyone at NASA thing took in a film somewhere outend in integrity ofplace everyone wholot was at the sharp being in on the secret andthis no-one ever spilling the Nevada desert.

Now would, of course, of it all, whether they be an astronaut sitting in a the and it also,much of course, questioned the havebeans required everyone NASA capsule or the pretty head of Mission Controlatrunning integrity of everyone who was at the sharp end being in on the secret and no-one ever spilling the show back on Earth. of itbeans all, whether they be an astronaut sitting in a the and it also, ofargument course, questioned Naturally the whole could havethe capsule or the head ofwho Mission Control running integrity of everyone was at the sharp been put to bed had NASA ever visited the end the show back on Earth. of it all,again, whether be an astronaut sitting in a moon butthey somewhat surprisingly they’ve Naturally the whole argument couldrunning have capsule or the head of Mission Control not returned since December 1972.

However been put to bedonhad NASA ever visited the the show back Earth. pictures from a mission launched a full decade moon again, the butwhole somewhat surprisingly they’ve Naturally argument could have not returned since December 1972.

However been put to bed had NASA ever visited the pictures frombut a mission launched a full decade moon again, somewhat surprisingly they’ve

offer conclusive proof that everything was Program (LPRP), whose mission was to orbit genuine. images come an orbiter ago have The now emerged thatfrom appear toimages finallyof the moon to capture high-resolution flying on behalf of the Lunar Precursorwas Robotic offer conclusive proof that everything the surface, including sites explored by Apollo Program (LPRP), whose mission was to orbit genuine. The imagesvery come from an orbiter missions, to achieve precise mapping. the moon to capture high-resolution images of flying on behalf of the Lunar Precursor Robotic As a by-product these images of incredible the surface, including sites explored by Apollo Program (LPRP), whose mission was to orbit precision also aimed to convince the sceptics missions, to very precise mapping. the moon toachieve capture images about the veracity of high-resolution the Apollo missions.

In of As a by-product these images of incredible the surface, including explored byof Apollo fact, to get even more sites detailed images the precision also aimed to convince the sceptics missions, to achieve precise mapping. areas where the lunarvery landings took place NASA about the veracity of the Apollo missions.

In As a by-product these images of even decided to reduce the altitudeincredible of the orbit fact, to getalso even moretodetailed images of the precision aimed convince the sceptics from an initial 50km to just 21km to improve the areas the lunar landings took placeIn NASA aboutwhere theof veracity of the missions. accuracy the images ofApollo these sites. evento decided to more reduce the altitude of the orbit fact, get even detailed images of the Results are impressive and, although there from an initial 50km tolandings just 21km to improve the areas lunar took place NASA could where still bethe some who might question whether accuracy of the these sites.of the orbit even decided toimages reduceof the altitude Results are50km impressive although there from an initial to justand, 21km to improve the could stillof bethe some whoof might accuracy images thesequestion sites. whether

not returned since December 1972. However pictures from a mission launched a full decade

Results are impressive and, although there could still be some who might question whether

PP159_007-015 (UP FRONT).indd 13

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I S S U E 1 5 9 P R O F E S S I O N A L P H OTO 0 1 3

to increase the belief of the general public in the NEWS / UPFRONT true existence of the Apollo Moon missions."

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NEWS / UPFRONT 10/05/2019

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© NASA Go

PP159_007-015 (UP FRONT).indd 13

these latest images are themselves genuine, if you take it as read that they are then the evidence appears conclusive. At the higher these latest images are themselves genuine, altitude it’s possible to guess the position of if you take it as read that they are then the the LM (Lunar Module) thanks to its elongated evidence appears conclusive.

At thegenuine, higher these latest images themselves shadow, while such are things as footprints or the altitude it’sitpossible to guess the position if you take as read that they are then theof lunar rover can’t be made out. the LM (Lunar Module) thanks At to the its elongated evidence appears conclusive.

When the altitude was reduced tohigher 21km, shadow, while such things as the footprints orof the altitude it’s possible to guess position however, suddenly everything starts to stand lunar rover can’t be made out. the LM (Lunar thanks to itsfrom elongated out.

This time,Module) on images captured the Whenwhile the altitude was reduced to 21km,the shadow, such ascan footprints sites of Apollo 12 andthings 17, you clearly or see however, suddenly everything to stand lunar bethese mademissions. out. starts manyrover tracescan’t left by It’s possible out.When This time, on images captured from the the altitude was reduced to 21km, to make out the LM named Challenger, the sites of Apollo 12 and 17, you can clearly see however, suddenly everything stand tracks of the lunar rover drivenstarts by theto crew of many traces left these missions.

It’s possible out.

This onbyimages capturedoffrom the Apollo 17time, and even the footprints astronauts. to make out the named Challenger, the sites of Apollo 12LM and 17,these you can clearly see Curiously, although images have been tracks of the left lunar rover driven by the crew of many traces by these missions.

It’s possible around for a while, they’ve not been widely Apollo 17 and even the footprints of astronauts. to make outand thethey LM named Challenger, the circulated, have just been highlighted Curiously, although images tracks of the lunar roverthese driven bybehind thehave crewbeen of

by Panhobby, the photographer around forand a while, they’ve not been widely Apollo 17 even the footprints of astronauts.

PhotoPlanet360 - http://photoplanet360.fr/ - a circulated, and they have justimages been highlighted Curiously, although these have been French website dedicated to panoramic and by Panhobby, the photographer behind around for aphotos. while, they’ve not been widely 360-degree PhotoPlanet360 - http://photoplanet360.fr/ -a circulated, and showing they havethe just been highlighted “By visually astronauts’ paths French websitethe dedicated to panoramic and by Panhobby, photographer behind around the LM, this makes these missions more 360-degree photos.

PhotoPlanet360 - http://photoplanet360.fr/ -a concrete,” Panhobby comments, “and allows “By visually showing thetoastronauts’ paths Frenchtowebsite dedicated panoramic and them gain some height for, as NASA hoped, around the LM, this makes these missions more 360-degree photos. to increase the belief of the general public in the concrete,” Panhobby comments, “and allows “By visually showing the Moon astronauts’ paths true existence of the Apollo missions." them tothe gainLM, some as NASA hoped, around thisheight makesfor, these missions more to increasePanhobby the belief of the general public in the concrete,” comments, “and allows true existence of the Apollo Moon missions." them to gain some height for, as NASA hoped,

09:43

10/05/2019 09:43

PORTFOLIO / LEXI LAINE

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LEXI LAINE / PORTFOLIO

Deep and Meaningful

Lexi Laine specialises in extraordinary underwater fine art portraits that are vibrantly different and adds to the challenge by eschewing sub-aqua gear and relying on her freediving expertise. WORDS TERRY HOPE / IMAGES LEXI LAINE

I

N THE WORLD OF FINE ART you might think that it’s such an overcrowded genre that pretty much everything must have been done by now.

And then you come across work such as that showcased here and you realise that, provided a left field way of thinking is fully engaged, there are still ways to approach this subject in a way that’s strikingly different and truly innovative. Welcome to Lexi Laine’s unique underwater studio, a place where anything can happen and nothing is quite what it seems.

Naturally Lexi is based on the coast – just outside the creative hub that is Brighton as it happens – and, equally unsurprisingly, it turns out that she’s long had a bit of thing about water. “I’ve always loved the sea,” she explains. “As a child I loved to snorkel - and still do - so as an adult I learned to scuba dive in order to explore deeper into this fascinating world.”

It wasn’t long before the incredible scenes she was encountering beneath the waves inspired Lexi to consider taking a camera with her and she went on to undertake a fine art degree, specialising mainly in photography. As her love of the medium and art in general started to merge with her fascination with the sea it was a logical progression to take underwater photography in general more seriously, but at this point Lexi made a career defining decision that has

come to set her apart from others that might be venturing into this area. She made the call to spurn the scuba gear that so many others rely on and looked instead at developing her freediving skills.

“This happened quite informally to begin with,” she recalls, “and at first it was simply a case of holding my breath and diving deep underwater in order to take photos. Since then I’ve joined a local freediving club called NoTanx, which has allowed me to progress further and ultimately to extend the amount of time I can enjoy underwater.

“I’ve never really thought of it as being more difficult and I think both freediving and scuba diving have got their own particular challenges. I still enjoy a scuba dive every now and then, but for the purposes of my photography it’s never really been a method I’ve considered. The main reason is that I feel a lot freer without a tank and I can move around a lot more easily and communicate my ideas and directions to the model(s) I’m working with.

“I believe that it’s vital I experience the same feelings as whoever I am photographing underwater - if we are both holding our breath as we're working then it becomes a shared experience. Freediving gives me a feeling that’s hard to describe in words, but it’s a pretty amazing sensation.” />

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ABOVE: Lexi Laine is as comfortable beneath the water as she is above it and can concentrate solely on getting the shots she's after.

MAIN IMAGE: Lexi shoots her images in a fine art style and has developed a highly individual and distinctive look that collectors love.

This article first appeared in issue 167. For back issues please visit professionalphoto.online

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PORTFOLIO / LEXI LAINE RIGHT: Lexi at work with her camera in a housing. By choosing to freedive rather than wear scuba gear she experiences a lot more freedom and feels at one with her subjects. Picture: Oliver Putnam.

OPPOSITE PAGE: By working in the open ocean rather than a swimming pool or a tank Lexi surrounds her subjects with the natural environment, which adds to the authenticity of the scene.

BELOW: On occasions Lexi works with multiple subjects and then the complexity of the shoot increases but the resuts can be extraordinary.

Staying Down

The first and most obvious question Lexi is always asked is how long she can manage to stay underwater for, and she answers with the resigned smile of someone who’s had to come up with an answer more times than she cares to remember.

“It’s funny, because the ethos of our freediving club is to try not to fixate on numbers too much,” she says. “We’ve found that diving within our relaxation limits makes us better divers and progression comes through enjoyment. I think the world record right now for a static breath hold is around twelve minutes, which is much more impressive than the three and a half minutes I can currently manage!

“Of course that time is reduced when I’m exerting myself by swimming quickly into position and concentrating on angles, composition and camera settings. But basically it’s long enough to achieve what I want to do with each dive. Training twice a week with the club here in Brighton has definitely improved my ability to stay underwater longer and, in turn, I’m sure it’s helped my photography to develop.”

The reason that people, as opposed to sea life, appears in front of Lexi’s lens is because she’s always preferred portraiture to wildlife and nature, but it did require her to come up with subjects who were as comfortable as she was underwater and likewise capable of holding their breath for ridiculously long

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periods of time while still looking graceful.

“Putting a human figure into a scene makes me feel more connected with the image,” says Lexi, “but finding the right models to work with is by far the biggest challenge. To look completely at ease underwater is a big skill and I wouldn’t be able to do what I do with the average person. People that I’ve found to be good at underwater modelling tend to always come from a background of diving or swimming in some kind of form.

“I’ve sought out models in many different ways in the past, but I was lucky to meet a woman called Iara around five years ago whilst travelling. She’s the person I’ve photographed more than anyone else and we’ve built up an understanding with each other that makes working together a real collaboration. It

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LEXI LAINE / PORTFOLIO

takes time for me to work with new people and to get used to an individual’s methods and limitations.

There needs to be trust there because what we do is technically an extreme sport and it's important that the right safety measures are in place.

“Ultimately my aim is to make ethereal and otherworldly seascapes that draw the viewer in and for them to feel the same calm I feel when diving or perhaps to find their own meaning in the images. Ocean conservation is something that’s very important to me and I hope to celebrate the beauty of the underwater world in my artwork.”

Working Underwater

Naturally camera gear is a prime consideration for work of the kind Lexi is undertaking and essentially she needs to be sure that the freedom she enjoys so much underwater isn’t compromised by bulky kit. After initially working with a full frame DSLR on dry land

and a MFT mirrorless camera in a housing once in the water she’s now working with Sony A-Series cameras that can function equally well in both environments.

“I switched to Sony almost two years ago now,” she says. “When I started to sell some of my underwater photography, either as prints or stock, I decided I wanted my underwater camera to be full frame as well. I had a choice, either to buy a housing for my full frame DSLR or to invest in a whole new system.

However, when taking photos underwater, mirrorless is a much better option, mainly because it’s much easier to compose using the rear screen rather than peering through a viewfinder whilst wearing a mask! And shooting using the rear screen on my DSLR was just so much slower than it needed to be.

“So I did my research and it coincided nicely with Sony launching the A7 III back in 2018. I made the switch over the period of around six months but basically sold all of my gear from my old two systems />

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“Ultimately my aim is to make ethereal and otherworldly seascapes that draw the viewer in and for them to feel the same calm I feel when diving or perhaps to find their own meaning in the images.”

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and bought all new Sony gear and a housing from Nauticam. I’m really happy with the way it’s worked out: the Sony gear gives me everything I need and more and it's very compact and lightweight to work with.

“Working in this genre of photography can throw in some difficult challenges when it comes to focusing, dealing with extreme lighting conditions, moving subjects and so on. The focusing system in the Sony Alpha series is unbelievably good, both on the a7 III and the a7R III, which I bought later on, while the files are easily good enough for me to produce huge fine art prints for collectors should I want to.

“Lens wise, I’ve streamlined my gear since switching and now use the 24-70mm f/2.8 GM, 50mm f/1.4 Sony Zeiss Planar and 85mm /f1.8, while the lens I use the most for my underwater work is the 28mm f/2.

It’s so easy to get carried away with gear and constantly look at the newest and most exciting new thing but, for now I’ve got everything I need.”

Looking Ahead

Even though what she’s doing sets her apart from the crowd Lexi is aware that it’s commercially difficult to turn her dreamy imagery into a commercial concern.

It’s why she also takes on conventional wedding and portrait photography, with her underwater work, for now, mainly a personal project. It’s also expensive to undertake this kind of work since the cloudy waters around the UK are not ideal and her favourite locations and the places she travels to most frequently are in the Mediterranean Sea and the cenotes of Mexico.

However, this is one labour of love that’s starting to pay off and over the past two years her work has begun

to be noticed and it’s developed into a strand of her business that’s now generating an income equal to that produced from her other areas of work. “I’m currently signed up to a picture agency that supplies images to publishers for book covers,” she says, “and I also exhibit my work and am selling limited edition prints.

I still really enjoy shooting portraits and weddings however, since I feel that variety is the key to keeping life and work interesting.”

Lexi is aware that she could have moved into an easier area of the market, but she’s loving what she does and she admits that the challenges she faces are part of the attraction. “Photography in its many forms is so accessible these days and cameras just keep getting better,” she says. “It’s meant that professional photographers have really had to up their game when it comes to learning their craft. To stand out from the crowd means having to learn good lighting and posing and having the ability to come up with creative ideas that haven’t been done before.

“It’s not easy - and sometimes it can feel like everyone in the entire world is calling themselves a photographer. For me, finding the quiet space of shooting underwater is the exact contrast to how busy and loud the world above is. And because it’s physically quite challenging and logistically hard to find the best locations and conditions, it means that there aren’t quite as many people doing it. This genre of photography still feels relatively unexplored so it makes it that bit more exciting.” PP More information: / https://lexilaine.co.uk

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ABOVE: Beneath the waves the flowing clothes that Lexi's models wear take on a beautiful dreamlike quality that couldn't be replicated in any other environment.

"The focusing system in the Sony Alpha series is unbelievably good, both on the a7 III and the a7R III, which I bought later on, and the files are good enough for me to produce huge prints should I need to."

OPPOSITE PAGE: Lexi enjoys playing with reflections, often changing the orientation of her images for greater effect.

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This article first appeared in issue 162. For back issues please visit professionalphoto.online

Making Use of

Window Light WORDS SARAH PLATER / IMAGES PAUL WILKINSON

Window light can be the perfect source for the professional. Learn how to position your subject, why it matters which direction your windows face and how to deal with direct and indirect sunlight.

O

ur architecturally quirky studio has windows facing all four aspects. Some are full-length, some are standard sizes and others are tiny apertures tucked up near the ceilings. At certain times of the day, in certain spots and under certain weather conditions, a shaft or two of sunlight will pour through one of the smallest, highest windows like the aura of an angel.

If I notice this light during a shoot I pause whatever I had planned and usher my subject under this spotlight. It doesn’t

work every time, but it’s always worth a punt. When it does pay off it’s usually my favourite image of the whole session.

That’s partly because of the quality that glass will add to direct sunlight. It could be the imperfect surface of the glazing, but somehow this type of light is magical.

It’s also due to the high position of these small windows. One of the challenges of working with window light is getting the angle right. A high window generally produces a more flattering angle to the light than a low one. In fact, with a

or the other. And of course, it can make your subject squint.

However, the sun’s light is softer and more flattering at the start and end of its arc through the sky each day. So a southfacing window that is difficult to work with at midday could offer beautiful light in the morning or evening. If you can’t change the time of your shoot you can always change the quality of the light through some DIY or

ABOVE: 50mm, f/4, 1/180sec, ISO 1100 The softest light is from a north-facing window (in the northern hemisphere) or a diffused window if direct sun is hitting it. This is Lucy, a world-famous portrait painter. The indirect sunlight from her windows is softened further by the white walls of the room, which bounce light around and help to reduce the density of any shadows.

SOFT, INDIRECT WINDOW LIGHT Studios in the northern hemisphere that use natural light often rely on a northfacing window. The sun rises in the east, sets in the west and shines over southernfacing aspects throughout the day.

Therefore, having a north-facing window enables those studios to avoid direct sunlight coming through.

As we’ve shown in a previous feature (Professional Photo, issue 159), direct sunlight can be an incredibly effective and dramatic lighting source. However, it also presents additional challenges for the photographer. For example, the quality of the light is harsher, so it can be a lot less flattering. It causes higher contrast between areas of light and shade, which means the photographer may have to come to terms with losing detail at one extreme

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LIGHTING MASTERCLASS

TRANSFORM YOUR PORTRAIT PHOTOGRAPHY

TECHNIQUE

Access tons of fresh ideas and practical tips for intermediate and advanced portrait photographers at www. masteringportraitphotography.com.

Build your business and transform your photography with hundreds of lighting diagrams, articles, videos, podcasts and more, plus get answers to your questions and feedback on your images via friendly forums and constructive critiques.

little finessing, it’s sometimes possible for me to use this shaft of sunlight to create a lighting pattern reminiscent of a Rembrandt painting.

I’m certain there are many such patches of window light that we walk past every day. The difference between a mediocre photographer and a good one is firstly, learning to spot great light and, secondly, understanding how to use it.

These are six of the things I look for when working with window light and what I do once I’ve spotted the opportunity.

MULTIPLE WINDOWS

purpose-made modifiers: hanging up a net curtain, a white bedsheet or a scrim (thin, semi-opaque paper) in front of a window will soften any direct sunlight, effectively giving a similar effect to the one you might achieve by using a north-facing window.

But whereabouts should you stand, relative to the light? I’ll typically position myself so that the window is to my side, and also to the side or at a slight angle to my subject, as I’ve found that to be the most flattering. If, however, you’re looking to replicate the current fashion trend for flat lighting, stand with your back to the window. This gives a ring-light effect, with your silhouette reflected in the subject’s eyes, edged by a distinctive catchlight caused by the window behind you.

When there’s more than one window, you can use them as you would multiple lights in a studio. For instance, when I’m photographing a wedding the bride is often getting ready in one of the nicest rooms at the venue. If the wedding is taking place at a stately home, the bridal suite is often a corner room, with a window on each outside wall and light flooding in.

If so, I position the bride so that the light from one of the windows (the ‘key light’) is washing over her face. I then angle myself so that the light from the second window produces a ‘kiss light’, which is a gentle glow on her cheek, jaw and/or hair. A kiss light is usually less powerful than the key light. To mimic this in the bridal suite I move the bride closer to the window lighting her face. Because of the way light falls off, having your subject closer to one window means the strength of the light reaching their face is stronger relative

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ABOVE: 105mm, f/2, 1/350sec, ISO 200 Paul is a friend and top event producer.

He and I stole away for a five-minute chat in the Green Room inside his office.

I loved how the row of windows created soft, wraparound light, so I took this quick portrait. A wide aperture means the coffee machines in the background are out-of-focus details that add a sense of space and place without serving to distract from Paul’s face.

to the furthest window.

Of course, this example assumes soft, even light coming from both windows, which isn’t always the case!

However, windows at stately homes usually have net curtains, and these can be pulled across one or the other to soften the light if required.

Stately homes aren’t the only buildings that have multiple windows, either in a row or on more than one wall. Sometimes offices have a row of windows along one or more sides of the building while, at home, conservatories offer wraparound light on almost every side. In both cases, indirect sunlight through these can be beautifully soft and flattering. Position your subject so the catchlights in their eyes are above the pupil, and angle yourself for the most visually pleasing composition. Use a wide aperture so that any background distractions fade into abstract blurs behind your subject.

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HIGH WINDOWS

We’re used to seeing everything lit from above: sunlight and artificial lights are typically overhead. That’s why it looks wrong when the lighting comes from a low angle. Think of children holding a torch under their chin, pointed up at their face, when telling scary stories. There’s a reason that’s known as ‘horror lighting’!

I use the position of catchlights in my subject’s eyes as a shorthand for checking whether my light is where I need it to be. Imagine a line between the pupils of your subject’s eyes: are the reflections from your light source above that line? If so, there’s a good chance that you’ve got some flattering light to work with.

Now look in a mirror when you stand near the windows in your home. Are the catchlights in the top or bottom half of your eyes? If your home is like most, you’ll often find the catchlights are in the bottom half, particularly if you have fulllength windows or glazed patio doors.

That’s the main challenge with window

light, especially as you won’t be able to move the position of the windows.

You can, however, move your subject.

If the windows are too low, seating your subject often provides a quick fix.

Alternatively, block off the bottom half of windows or glazed doors to stop lighting coming on to your subject from too low down. In addition, opt for rooms with darker flooring if you find too much light is being bounced up from a pale floor, creating horror lighting on your subject’s chin. This effect is something common in rooms with full-length windows.

As a general rule opt for windows with

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ABOVE: 175mm, f/4, 1/100sec, ISO 800 You can’t move the windows, but you can move your subject! I asked James to lie on the floor for this shot and challenged him to land a marble in my lens. Find out why and what happened next at https://pwfoto.co/marbles.

a top ledge of seven foot or more. This means that you can get some light from a higher angle than the majority of subjects, even if you need to screen off the bottom portion of the window to avoid a horror lighting effect. Windows higher up in buildings, such as skylights, are often the best option of all if you have access to them.

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TECHNIQUE

BEAUTIFUL WINDOWS

If I spot an architecturally beautiful window I’ll often consider ways of including it in the picture. After all, an attractive window is not just a light source; it can be part of your scene, acting as a frame-within-a-frame or a decorative element.

For example, I might direct my subject to look, or lean, out of the window. This gives a very different feel compared to an image where the subject is looking down the lens. When they look away from the camera we - as viewers - become curious about what they can see.

During the day it’s brighter outside than inside, so including a window in the shot presents a challenge when it comes to balancing the exposure. If you get the exposure correct for the room interior, then the outside will be overexposed and

vice versa. There are a few ways you can handle this: for example, you can pull across a net curtain to reduce the contrast. You could also underexpose the inside and then fix this in postproduction, while masking off the window area to keep this unaffected.

Including a window within a shot is a common technique with nude and boudoir portraits, allowing the light to wrap around the subject’s form while parts of their body

ABOVE: 70mm, f/3.3, 1/180sec, ISO 800 I loved the repetition, shape and timelessness of these window frames, and the fact that their colour matched the cream and brown palette of the image. Including them in the shot adds visual interest and a strong sense of place.

there’s one problem. When the sun shines through the lines of the light stay parallel, because the light source is nearly 150 million kilometres away. Studio lighting is a much closer, softer light source. That means that when a studio light is placed behind slatted blinds the lines of the light diverge after they pass through the blind. Move your light source further away to minimise this telltale giveaway as much as possible!

ABOVE: 105mm, f/2, 1/180sec, ISO 100 Venetian blinds add interesting visual patterns to an image, elevating this commercial portrait to something a little more interesting than your standard office scene. I used a speedlight to the left (as we’re looking at it) to brighten up the shadows on the subject’s cheek that were furthest from the window.

fall into shadow. This can give a dreamy feel to your image, with the overexposed windows providing a clean, white background to the subject.

VENETIAN BLINDS

Slatted blinds add texture to the light, which can bring visual interest to a portrait. They also enable control over the amount of light falling on a scene.

Tilting the slats upwards bounces the light from the ceiling, while tilting the slats downwards pushes the light down.

Hard, direct sunlight through Venetian blinds gives a moody, dark and dramatic effect, which is often used to lend a 1940s film noir feel to a portrait. If you do this it’s important to move your subject, so that the lines of light cross their eyes. This adds the all-important catchlight and draws the viewer’s attention straight to your subject’s eyes.

Studio photographers have picked up on the appeal of using slatted blinds, but

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STREET-LEVEL WINDOWS RIGHT: 105mm, f/4, 1/90sec ISO 100 Street-level windows enable you to shoot window lit portraits through the glass. One of the toughest challenges in this situation is working around any reflections on the glazing, which can make your subject hard to see. Here I’ve used Helen’s partner to create a shadow on the glass through which we see her face - combining her features with his profile in silhouette.

Windows are a unique light source in that you can also shoot through them.

You’ve probably seen Instagram pictures of good-looking subjects gazing out of coffee-shop windows with the reflection of the skyline in the glass; that’s just one of the possibilities.

The toughest challenge when shooting through glass is communicating with your subject what you’d like him or her to do.

I’ve found that having both your phones connected on a call and set to speaker mode is the easiest way to get round this.

The second challenge is finding an area of glazing that doesn’t have the sky reflected in it. When this happens, not only is it hard to make out your subject in the image, but your camera’s autofocus is likely to struggle. Once your autofocus system finds something to latch on to it stops hunting. If it keeps locking on to something in the reflection (such as clouds or buildings), it can be a struggle to redirect focus on to your subject, who is likely to be completely blurred.

My eyesight isn’t good enough for me to trust manual focus, so what I do is start off with manual to get the autofocus system in close range of my subject’s eyes. Then a quick tap on the autofocus button is more likely to lock the system on to the correct target.

If you want to get really clever when shooting subjects through glass you can add meaning to the narrative via the shape used to block the reflections. For example, you could position a loved one so that his or her silhouette on the glass blocks out the reflections and enables us to see through to your main subject.

This then gives your viewer a much more rewarding and layered experience when they’re exploring your image.

A FINAL WORD ON WINDOW LIGHT...

I love the look of windows and window light so much that once day soon I’m going to pick up a reclaimed window and build a set for use in our studio. Until then, I’ll continue to use the methods described in this feature to create beautiful window light portraits for my clients.

Why not set yourself a challenge to actively notice how the window light in

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your home or studio changes over the day and the seasons? Persuade a friend or family member to model for you, then test, play and try again. Whether it’s your first window light portrait or your thousandth, head to MasteringPortraitPhotography. com and click on ‘Critique’ to upload it for constructive, supportive feedback. I can’t wait to see what you create!

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MEET THE PRO Paul Wilkinson FMPA FBIPP FSWPP is a multi-award winning international photographer, with a boutique studio midway between Oxford and London.

He is co-author of the best-selling book Mastering Portrait Photography and shares his skills and experience with other photographers through the free companion site www. masteringportraitphotography.com.

CASE STUDY:

Window lit portrait at a client’s home This was taken at the very end of an engagement shoot. Samantha and her partner live in an old mill house, and we’d created a series of images set in the beautiful grounds of the building. I had packed everything away and said my goodbyes when I turned to walk out and spotted gorgeous sunlight drifting over their armchair. I was tired and ready to go home. I studied the scene for a second more and knew I would regret it forever if I walked out. I turned to my clients: would they mind if we did one more shot?

Happily, they didn’t.

There’s two parts to the final image I took that day. There’s Samantha in the armchair, lit by the window light on the right, and there’s the open door and hallway on the left hand side. The far side of the door is painted white, so I’ve left it open to act as a fill light. I’ve angled it so that it’s bouncing some daylight into the shadow areas on Samantha’s face and, as a bonus, it’s throwing a puddle of light across the parquet flooring, too.

The room was painted a dark colour, which minimises the amount of light that’s reflected off the interior surfaces.

This means the light is very directional and could be unflattering if I wasn’t very careful about how I positioned Samantha.

I angled the chair so that the window light fell across half the curve of the

If you have any queries regarding this feature you can contact Paul at: info@ masteringportraitphotography.com ABOVE: 70mm, f/4, 1/125sec, ISO 800 I was ready to head home when I spotted this characterful armchair, lit by the softening light of the late afternoon sun. I knew I’d regret it if I didn’t stop to take the shot, so I worked out a way to include my client in the scene and finessed it from there.

chair’s headrest. I asked Samantha to sit in the lit part, and she’s facing slightly towards the light, which means the side of her face nearest the camera is mostly in shadow. This is called narrow lighting, and it’s flattering for most people (apart from those with very narrow faces!).

I asked Samantha to sit as she would normally do, then tidied up the pose from there: getting her to relax back into the headrest, crossing her legs and relaxing her hands into her lap. In just a couple of minutes the scene was captured and I was packing up for a second time.

It’s always worth getting your camera out of the bag again should you happen to see an opportunity like this. In the end this image won me the Master Photographers Association Lifestyle and Location Portrait of the Year 2013. The trick is to notice those beautiful patches of light and you then just have to work out the image from there.

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/ Mastering Portrait Photography by Paul Wilkinson and Sarah Plater is published by Ammonite Press, priced £19.99. Available from www.thegmcgroup.com and all good book shops.

VIDEO: CAPTURING A GENTLE, WINDOW LIT PORTRAIT

Stuck indoors on a grey day? Watch how Paul creates a window lit portrait featuring a reflection in this short video: https://pwfoto.co/windowlight.

NEXT MONTH: CORPORATE STUDIO HEADSHOTS A mainstay of commercial photography is capturing portraits of an organisation’s staff. Learn the high key set-up Paul uses for his ‘safety’ shot, find out where your lights need to go to create great catchlights and what you need to think about before you start shooting.

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The Shoot:

Brunel Shades of

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IN ASSOCIATION WITH PANASONIC / THE SHOOT

Given the opportunity to work with the Panasonic S1R Adam Parker negotiated access to an historic London location that served as the perfect backdrop to an atmospheric fashion shoot.

The Brunel Museum

WORDS TERRY HOPE / IMAGES ADAM PARKER

C MINI BIO:

Established as a professional photographer in London for 20 years, Adam Parker’s clients are from sectors as diverse as hospitality, architecture, design, advertising, editorial and fashion.

Throughout his career he’s had the opportunity to work in 32 countries, including China, Russia, The Gulf States, The Americas and all over Europe, meeting a wealth of inspiring people along the way.

LEFT: 70-200mm at 97mm, 1/50sec at f/4 Through careful lighting there was just enough of the vintage backdrop of the Brunel building visible in the background to add the necessary vintage feel.

TOP RIGHT: 50mm, 1/40sec at f/3.5 The distressed nature of the as-yet unrestored surroundings of the engine house contrasted strikingly with the model, and the S1R was able to handle the contrast levels beautifully.

ONSIDERING THAT HIS two favourite subjects are people and architecture, it was perhaps inevitable that Londonbased professional photographer Adam Parker should choose to use the time he had with the Panasonic S1R to set up a shoot that combined both.

He approached the trust that owns The Brunel Museum, located in the old engine house next to Brunel’s iconic Thames Tunnel in Rotherhithe and this gave him access to a gloriously atmospheric building, steeped in history. This became the perfect setting for a fashion and beauty shoot that would benefit from the lofty and inspirational surroundings while providing a chance to shoot some interiors.

The museum is housed in a fascinating space, which was first opened in early Victorian times as an entrance hall from where people could begin their walk under the Thames. Now open again for the first time in 150 years the space is still not fully restored so there was plenty of bare brickwork and period features for Adam to work with. “The main challenges we faced were the coldness and lack of light,” says Adam “I was worried about overloading the electricity supply so decided against using continuous sources.”

Instead he opted for flash, working with his elderly but much loved Bowens Esprit 1500W units – 20 years old and still going strong - in tandem with two much newer Bowens XMS 500S’ and a pair of Godox AD 360 battery operated heads. “I arrived at 10.30am to set everything up for a 2pm start,” says Adam. “This gave me time to get a feel for the location and to work out the lighting. We solved the coldness issue by hiring a space in the wonderful Norwegian Church nearby and we used this as our base for hair and make-up.”

Working with Mirrorless

Outwardly the Panasonic S1R looks very similar to its sibling, the S1, but it comes with a different feature set aimed at an audience, such as architectural, fashion and commercial photographers, who require optimum resolution. Inside there’s a 47.3MP full frame CMOS sensor – compared to the 24MP sensor found in the S1 - that can deliver images

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that are packed full of quality and capable of huge enlargements and postproduction cropping if required. The model comes with all the advantages you would expect from a mirrorless camera, including the ability to see the instant you’re photographing and immediate playback of images in the viewfinder.

“Aside from the Hasselblad X1D, I’m fairly new to working with a mirrorless system,” says Adam, “and it felt quite different initially. There was a bit of a learning curve, although I warmed to the camera straight away - it felt well-made and solid in the hands. I also liked the fact that so many of the controls could be found on the camera body so there was no need to start learning where things were in the menu, which made things more intuitive.

“I worked by looking through the EVF viewfinder rather than by using the LCD on the back of the camera and the instant review function was switched on so that I could see immediately what I'd taken. For me that was different and took a little bit of getting used to, but actually it was a really useful function /> FREE ANNIVERSARY EDITION PROFESSIONALPHOTO PHOTO \ 27 23 ISSUE 165 PROFESSIONAL

THE SHOOT / IN ASSOCIATION WITH PANASONIC

PHOTO: KARTHRIN WERNER

LEFT: 70-200mm at 81mm, 1/50sec at f/4 Because of his concerns about overpowering the electricity supply Adam worked with flash units rather than continuous lighting. BTS Images: Kathrin Werner BELOW: 70-200mm at 111mm. 1/125sec at f/4 The sombre and moody setting of the museum served as an excellent darkened backdrop to Adam's fashion shots.

RIGHT: Adam worked with two models on the shoot, who were able to change and have hair and M/U done in the warm environment of a nearby Norwegian church.

PHOTO: KARTHRIN WERNER

and it could have been disabled had I wanted.

“The EVF itself is clear and gave a view of what was going on, even though it was quite a dark environment. After a while you completely forgot that you were looking at an electronic interpretation. I could definitely see myself getting used to it if I were to shoot mirrorless on a regular basis.”

The S-System loan scheme enables professionals to borrow lenses alongside an S-System body, and Adam had with him the 50mm f/1.4, the 70-200mm f/2.8 and the 24-105mm f/4, working primarily with the 50mm on this shoot since this suited the requirements so well. It was also an optic that he warmed to immediately, given its brightness and the quality of the results it was delivering.

However, there was a twist on this particular shoot since Adam, in common with so many other photographers shooting architecture, is a regular user of tilt and shift lenses, since these bespoke optics can offer so many advantages in terms of composition and creative focus. Crucially they enable verticals to be straightened out in-camera and focus to be controlled within a diagonal frame, and they are valuable and indispensable optics to have on a shoot.

For Adam it was imperative that he could marry the S1R with his four T&S lenses, and so a Sigma MC21 EF adaptor was included in the loan so that these could be fitted. “For a conventional lens I was confident that there wouldn’t be too many issues using the adaptor,” says Adam, “but I was concerned that with these specialist optics there could be fall-off and sharpness issues since the adaptor does move the lens slightly further away from the camera body.

In the event however they worked well and there was

“After a while you completely forgot that you were looking at an electronic interpretation of a scene. Over time I could definitely get used to it ” just a certain amount of entirely acceptable fall off in the corners. For me this was a huge plus point since I couldn’t do my job without them.”

Handling the conditions

Having to work in an atmospheric but subdued environment presented a few extra challenges, primarily the fact that the sheer size of the location was swallowing up flashlight and making it necessary to work at a higher ISO than Adam was usually comfortable with. “I don’t usually like to go above ISO 200,” he says, “but here I went one stop further to ISO 400 to compensate for the conditions. In fact I needn’t have worried since the results were impressive and there was no noticeable loss of quality. I also shot some extra images at ISO 2000 to see what I would get and even then results were good, with very little noise when processed correctly.

“With the AF I moved from eye detection to crosshair focus just to make sure that I achieved pin sharp images even in the darkened conditions and that setting worked really well. The zoomed manual focus also worked well with my T/S lenses. I was impressed with the latitude the S1R delivered. You obviously need to light a scene correctly to keep 24 / PROFESSIONAL ANNIVERSARY EDITION 28 PROFESSIONALPHOTO PHOTOFREE ISSUE 166

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IN ASSOCIATION WITH PANASONIC / THE SHOOT

TRY IT YOURSELF! Panasonic is offering professional photographers and videographers the opportunity to try out the S-Series cameras and lenses for themselves for up to a two-week period free of charge, so perfect to use on a professional job or a personal project.

The LUMIX S1 and S1R will be available to loan on the scheme, as well as a choice of S Series lenses: 24-105mm standard zoom lens, 70-200mm telephoto zoom lens or 50mm fixed focal length lens. LUMIX S1 samples will contain the new SFU2 firmware programme, unlocking the full video capabilities of the camera for testing. The SIGMA MC21 converter will also be available as part of the scheme should it be required.

To sign up for a loan, visit www.lumix.co.uk/ pploan. Terms and conditions apply.

contrast levels to a minimum but even so it was pretty extreme in this situation. The camera handled this situation better than previous DSLRs I’ve used.

There was good shadow detail to pull out and a decent level of information retained in the highlights - overall it was an impressive performance.”

Having had the opportunity to try the S1R out in both an architectural and a fashion and beauty scenario, Adam’s verdict on the camera was emphatic.

“My first experiences with the camera were very positive,” he says, “The ultimate question, is would I be prepared to go out and buy one? The answer is that, following this experience, I would definitely consider it very carefully. The S1R really stood up admirably to everything I threw at it.” PP More information: / www.adamparker.uk / www.adamparker.co.uk / www.cityportraits.london Team: Stylist: Savannah Barthorpe Make-up: Jonas Oliver Hair: Lalah Creative Assistants: (photo) Kathrin Werner (make-up) Bethany Rodriguez. Special thanks to designers Nico Didonna,Nadia Minkoff and Antidote London Latex.

Models: Thais Pagliuso @ First + Miki @ Profile

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THE THE MOVE MOVE TOWARDS TOWARDS MOTION MOTION

This article first appeared in issue 166. For back issues please visit professionalphoto.online

Filmmaking’s Filmmaking’s Irresistible IrresistibleRise Rise

TheThe move move by by traditional traditional photographers photographers to explore to explore filmmaking filmmaking NENE WW appears appears unstoppable unstoppable andand ourour new new series series willwill be be looking looking at why at why SERIES SERIES thisthis is happening is happening andand how how to make to make sure sure you’re you’re notnot leftleft behind. behind.

WORDS WORDS TERRY TERRY HOPEHOPE

PP

valuevalue to your to your business business and to and add to aadd crucial a crucial HOTOGRAPHERS HOTOGRAPHERS HAVE HAVE beenbeen commercial commercial operator operator Richard Richard Seymour, Seymour, that that the ‘weekend the ‘weekend warrior,’ warrior,’ with with theirtheir here here before, before, a place a place where where there’s there’smeanwhile, meanwhile, wentwent further further and devoted and devoted his his skill skill cut-price, dumbed-down dumbed-down approach, approach, would would a change a change on the ondistant the distant horizon horizon presentation presentation to the toways the ways that that professionals professionalscut-price, find hard find hard to match. to match. that’sthat’s beingbeing driven driven by technology by technology couldcould makemake the move, the move, as heashas hedone, has done, that,that, at first, at first, appears appears a long a long way off waybut offisbut is towards towards a model a model where where motion motion is anis an thenthen suddenly suddenly on top onof top you of and you forcing and forcing integral integral part part of the ofmix, the mix, and something and something that thatEMBRACING EMBRACING THE THE you to you react to react or beorleft bebehind. left behind.

We’re We’re gets gets him jobs him jobs that that others others without without motion motion CHALLENGE CHALLENGE talking, talking, of course, of course, aboutabout the move the move fromfrom skillsskills couldn’t couldn’t hopehope to pitch to pitch for. for.

As always As always therethere are those are those who who havehave always always film to film digital to digital and how and how manymany professional professional For the Forhobbyist, the hobbyist, who who takestakes pictures pictures for formademade a point a point of being of being earlyearly adopters, adopters, and and photographers photographers at the attime the time insisted insisted that that the love the love of it,of the it,option the option is there, is there, of course, of course,whilewhile therethere are risks are risks associated associated with with this this they they would would nevernever turn turn theirtheir backsbacks on silver on silverto ignore to ignore the movie the movie option option on their on their DSLRDSLR approach approach as well, as well, suchsuch as paying as paying sky high sky high halide. halide.

Of course Of course mostmost ultimately ultimately had no had no or mirrorless or mirrorless camera. camera.

The professional, The professional, prices prices for gear for gear that’sthat’s quickly quickly superseded, superseded, choice choice but to but make to make the move the move if they if they wished wishedhowever, however, doesn’t doesn’t havehave that that luxury luxury and and therethere is also is the alsoconsiderable the considerable reward reward that that to remain to remain competitive, competitive, and it and was it the wasones the ones mostmost needneed to betoaware be aware of the ofcommercial the commercial comes comes with with beingbeing one of one the offirst the first in your in your that that saw the sawway the the waywind the wind was blowing was blowing and andimplications implications of looking of looking the other the other way as way the as thecommunity community to offer to offer a newa new service. service. chosechose to move to move before before they they werewere pushed pushed filmmaking filmmaking revolution revolution develops develops apace. apace.

The The “I was “I one was of one the offirst the first photographers photographers to to who who inevitably inevitably faredfared the best. the best. tricktrick is to is see tothis see sea thischange sea change as a positive as a positive fully fully makemake the move the move fromfrom film into film into digital,” digital,” We’re We’re seeing seeing a similar a similar pattern pattern emerging emergingthingthing rather rather thanthan something something to hide to hide from.from. says says Jim Marks, Jim Marks, “and“and it cost it cost me ame huge a huge now,now, only only this time this time the challenge the challenge is is Handled Handled properly properly this could this could be a be waya to way add to add amount amount of money of money to invest to invest in such in such things things whether whether to engage to engage in some in some way with way with the the growing growing pressure pressure to add to filmmaking add filmmaking to to BELOW: BELOW: Photogrpaher Photogrpaher youryour repertoire. repertoire.

Whenever Whenever you have you have a a turned turned filmmaker filmmaker Jim Jim gathering gathering of professional of professional photographers photographers in in MarksMarks was an was early an early adopter adopter of digital of digital and and a room, a room, suchsuch as atas the atrecent the recent AOPAOP Business Business filmmaking filmmaking and has and has Day that Day that was held was held in the inmedia the media hotspot hotspot of of benefitted benefitted from from beingbeing Hoxton, Hoxton, you’llyou’ll find this find is this a red is ahot redtopic hot topic aheadahead of theofcurve. the curve. of discussion, of discussion, and photographer and photographer afterafter photographer photographer throughout throughout that that eventevent talked talked aboutabout how how they they had personally had personally facedfaced up toup to the pressure the pressure to gettoinvolved. get involved.

Kent-based Kent-based professional professional Tommy Tommy Reynolds, Reynolds, for example, for example, explained explained how how he he produces produces filmsfilms of hisofpersonal his personal projects projects to attract to attract future future sponsorship, sponsorship, whilewhile filmsfilms that that tell the tellBTS the BTS storystory of images of images he’s he’s worked worked on are onhugely are hugely popular popular on his onsocial his social channels channels and have and have helped helped to raise to raise his his profile profile and increase and increase his following. his following.

Seasoned Seasoned

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HYBRID SPEC I A L I S SU E

THE MOVE TOWARDS MOTION

TECHNIQUE

ABOVE: Filmmaking can involve the necessity to work in a team where every individual has a very precise role to play.

as Phase One digital backs and then to explain to my clients what the advantages of digital might be for them. But it did give me a crucial head start in a very competitive business and that was really worth having.

“When I saw what the Canon EOS 5D Mark II was capable of eleven years ago that inspired me to take a similar approach to filmmaking and I quickly immersed myself in it. Once again it was a costly move to make and some of the equipment I spent so much on at the outset, such as a follow focus system, has dropped in price by ten-fold. Hybrid cameras too are incredibly affordable these days: take a look at what a Panasonic GH5 can offer for a brand new price of just over £1000: 4K 4:2:2 10-bit video capture and a 20.3MP sensor for incredible stills as well and it’s almost unbelievable. But that’s the risk you take and on the plus side I’ve given myself a big advantage by teaching myself so much about filmmaking through experience.”

Jim’s filmmaking skill set has seen him pick up an award for his cinematography on a full scale feature film, while he now

BELOW: Sennheiser’s AVX mics are designed to be easy to set up and use in the field.

considers that most of his work comes through motion commissions rather than stills, though he still pitches for, and takes on, plenty of stills assignments as well.

Throughout his career he’s been selftaught, learning initially through assisting and asking lots of questions and, in recent years, through diving in the deep end and

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“learning through the school of Google.”

“There is so much you can pick up online these days,” he says, “though obviously you’ve got to be careful that your information is coming from a trustworthy source. When I was starting out one of the sharpest learning curves for me was audio, which obviously stills photographers know little about. But here again kit has become so affordable and so much easier to work with over the years. At the moment I’m working with Sennheiser microphone systems and collectively they offer me something for every occasion.

“The AVX ME2 System, for example, is so simple to use and you can simply plug the receiver into your XLR audio input – and the XLR adaptor for Panasonic cameras is one of the best accessories ever - and it connects wirelessly with a lavaliere or a hand held mic and you’re ready to go. I also work with a Sennheiser MKH 8050 Compact Supercardiod condenser microphone and this can go on a boom or stand to deliver beautiful, distortion-free audio.” There’s also the Sennheiser XS Wireless Digital

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HYBRID SPEC I A L I S SU E

THE MOVE TOWARDS MOTION

TECHNIQUE

BELOW: When he’s working on location David Newton works with a hand held Canon kit and he backs up regularly to his G-Technology G-SPEED Shuttle SSD.

System that offers a highly affordable path into the world of affordable wireless audio, with the Portable Interview Set retailing for around £250, so there’s no longer a high price entry threshold nor the need to head out into the field with cumbersome and unwieldy wired systems.

DIVING IN

Another of those who went into filmmaking early and who now earns a large part of his income from this source is David Newton.

“When the EOS 5D Mark II was announced, I knew I’d need to learn more about video as it seemed it was going to become easier and hence open up the marketplace,” he says.

“As someone that did – and still does - a lot of training for Canon, I also needed to learn more about this side of things so that I could explain it to other people, and the best way to learn is always to do it yourself!

So I immersed myself in the technology around video and went from there.”

These days David’s base kit is a Canon EOS R with Atomos Ninja V with a Mastercaddy 4K SSD by G-Technology.

The latter accessory makes the point that, with the increased amount of data being produced when shooting video, it’s crucial to have high capacity drives with you in the field and a means of moving this quickly from the camera to a secure form of back up. On location David heads back to his nearby van on a regular basis

to back his SanDisk Extreme PRO CFast 2.0 Memory Cards up to his G-Technology G-SPEED Shuttle SSD, using a Thunderbolt 3 connection to ensure the speed of transfer he requires. He also uses the G-Technology G-DRIVE mobile ProSSD, and both his drives are capable of up to 2800 M/bs transfer speeds, which enables his favoured 4K ProRes Raw workflow to be viable.

“I’m working with a whole mix of clients and the bulk of what I do is corporate stuff,” he explains. “I think it is still possible to be just a stills photographer, though it’s becoming more challenging to only do that. The budgets for stills work seem

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to be continually under threat, while the budgets for video and film work remain fairly healthy. There are also just so many more people doing stills that it’s a very congested market space and it can be hard for new people to stand out when they’re just starting. Certainly the number of people shooting video is going up, but the marketplace is not yet saturated so it makes a good market to get in to.”

DIFFERENT SECTORS

It’s not just commercial photographers that are feeling the pressure to move into filmmaking. Food photographer Gareth

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XS Wireless Digital An instant connection.

Wireless means never missing the moment. It means powering on and getting straight to work. Be it a complication-free lavaliere for the one-person video team, a wireless mic that’s up and running right out of the bag, or something entirely different—it’s a quick sync and you’re good to go. Enter the world of wireless without the burden of a complex setup.

An all new way to capture audio. An instant connection. www.sennheiser.com/xsw-d

HYBRID SPEC I A L I S SU E Sambidge, for example, realised there was an opportunity to expand into new areas while shooting above the line work for MacDonalds, where the client asked for motion and he made the decision to get involved rather than turn down the work, a situation that’s happening more regularly as clients become more video aware.

“Most of my motion work these days is for clients such as Waitrose, who are looking for material for their social media channels alongside stills,” he says, “and that’s maybe 30-40% of what I do now. As a modern photographer you need to be able to work with moving imagery and the industry as we know it is changing rapidly.”

It’s also an issue that’s confronting those who are shooting weddings, with younger couples in particular being so familiar with video that it’s a natural thing for them to ask for and to want as a record of their day. One of those who is catering for this growing need is Isle of Wight-based Tim Pritchard, who runs a business called The Best Yes, and he’s a true hybrid.

“I started my standalone business following a redundancy,” he says, “and I now cover weddings all over the UK as well as destination weddings to locations such as Lake Como in Italy. Previously I worked for years as a second shooter and through that got a great insight into different types of weddings and how they should be approached.

“I made up my mind how I wanted to operate having been to the weddings of some of my partner’s friends and watching their photographer in action. He was charging £950 for the day and I watched as he missed moments and disappeared into the background. His finished shots had people missing, and they were often out of focus and poorly framed. The memory of the wedding was ruined.

“I offer my clients a documentary style approach with no clock watching and as few limits as possible. As it’s not my full time job at the moment I aim to work at an affordable price but offer experienced and memorable results. I like to make sure everything is captured, from the first look to the rusty gate of a church. It’s the little details that make a full memory.”

THE MOVE TOWARDS MOTION

TECHNIQUE

BELOW: The Best Yes operates a hybrid service and can supply both stills and video coverage to clients.

However, it’s not always possible, so on occasion I’ll hire a second shooter to work with the groomsmen in the morning and make sure large groups are covered.

“I generally offer either video or stills and work with a pair of Fujifilm cameras, the X-T3 and X-T2, which both offer 4K video and high quality stills. On occasions, however, I have shot alone and provided both and then I’ll need to work quickly to switch from video to stills and try to capture everything I can in both formats. For example, for a confetti shot I’ll mount a Go Pro on top of my camera, shoot a few seconds of slow motion on the main camera then flick to stills. It’s hectic, but it’s worked so far!”

The key message to get across is that motion is here already, it’s here to stay and it’s becoming ever more important.

Stay clear at your peril, but for those that embrace the process and dive in wholeheartedly the opportunity is there to create a new revenue stream and to become a fully multimedia operator. PP

“For ceremonies and speeches I will sometimes have multiple cameras set up on tripods to cover off different angles.”

Tim offers both stills and video and prefers the latter because of its increasing popularity amongst his clients.

“I mostly work alone and manage by making sure I get to a variety of locations so that everything is covered,” he says.

“For ceremonies and speeches I will sometimes have multiple cameras set up on tripods to capture different angles.

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More information: / www.photopositive.co.uk / www.niceanarchy.com / https://garethsambidge.com / www.thebestyes.co.uk

NEXT ISSUE: What kit do you need to get started with filmmaking and how much will it cost?

We give you the lowdown and the guide to hybrid gear that’s good for covering both motion and stills.

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THE AFFINITY PHOTO TUTORIAL

Adding Dynamic Range T

Do you sometimes have the need for more dynamic range in your scene? If then look no further: Affinity Photo makes it easy to create an HDR image using multiple files.

WORDS AND IMAGES MATTY GRAHAM

ODAY’S CAMERAS have more megapixels than ever before, but even the best professional tools have their limits and there may be occasions when you’re met with a scene that challenges the dynamic range limits of your camera. These occasions often occur when there is high contrast lighting, typically around the golden hour, where a

camera may struggle to expose both for the dark foreground and the light sky, resulting in a less-than-favourable overall result. Of course, photographers can address this issue by using ND filters in the field to balance the exposure, but even this may not be enough to level the histogram.

Fear not, for HDR (High Dynamic Range) is the photographer’s safety net and, by

merging multiple files taken at varying exposures, you’ll be able to manage the shadows and highlights in the scene to get a better result. But many professionals view processing HDR files as a bit of a time vampire, since you need to merge the files and then edit them into a final frame.

Luckily, with Affinity Photo creating and editing HDR images is quick and easy…

ABOVE: Realising the scene he was photographing had too much dynamic range to enable a perfect result to be achieved in one shot Matty set his camera up on a sturdy tripod and shot four component images to create the base for his HDR result.

32 // PROFESSIONAL ANNIVERSARY EDITION 44 PROFESSIONALPHOTO PHOTOFREE ISSUE 166

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This article first appeared in issue 166. For back issues please visit professionalphoto.online

STEP ONE

SELECT YOUR IMAGES

Start this technique by placing the images you’d like to merge together (Raw files or JPEGs - Affinity Photo can merge either) in one folder on your desktop as this will make it easier to find your images. Next, open up Open Affinity Photo and then use the mouse to select your File and scroll down to the HDR Merge option. A dialogue box will appear so then you need to click Add and select the images you’d like to merge together.

IN ASSOCIATION WITH AFFINITY PHOTO

TECHNIQUE

STEP TWO

REFINE YOUR SETTINGS Before merging the images refine your settings. If you shot your images handheld leave the ‘Automatically align images’ box ticked. However, if you used a tripod, there’s no need for this. Set Noise Reduction to around 40% if you’re working with Raw files - leave this unticked if working with JPEGS, otherwise you’ll lose fine detail - and keep the ‘Tone map for HDR image’ box ticked too. Once you’re happy with the setting, click OK.

STEP THREE

EXPERIMENT WITH PRE-SETS When the HDR Merge finishes, explore the Pre-sets on the left and then fine-tune the look of the image using the sliders on the right of the interface. There’s options for a more Natural looking HDR, which may appeal to those who need to merge files but don’t want the image to look ‘overly HDR’ while there are also more extreme Pre-sets that ramp up the detail and contrast within the frame.

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TECHNIQUE

IN ASSOCIATION WITH AFFINITY PHOTO

STEP FOUR

FINALISE ADJUSTMENTS

You may decide to bypass the Pre-sets altogether, but even if you do select one of them you can still refine the adjustments by using the Tone Map options on the right of the interface.

These include Tone Compression, Local Contrast and a number of tonal adjustments, which offer you the opportunity to tweak the exposure even more to your liking. Finally, Enhance sliders enable you to adjust the Vibrance and Saturation to really ramp up the colour in the frame. Make any adjustments and then click the Apply button at the top left.

34 / PROFESSIONAL ANNIVERSARY EDITION 46 PROFESSIONALPHOTO PHOTOFREE ISSUE 166

STEP FIVE

CLEAN UP ANY DUST MARKS

To add that final polish to your HDR creation, it’s worth checking on (and removing) dust specks that were on the lens.

Head to the Layers panel and click Add Pixel Layer, select the InPainting tool from the Tool bar on the left of the interface and then head to the top of the interface to change Current Layer to Current Layer & Below. You can then click to remove specks of dirt to clean up the image in a non-destructive way, changing the size of the brush with the square bracket keys if needed. Finally, click File> Export and save the file in the format of your choice.

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IN ASSOCIATION WITH AFFINITY PHOTO

TECHNIQUE

BEFORE

RIGHT: The HDR process works by combining files with different densities to create one composite image that has a huge dynamic range. These are slivers of the four files that made up the final HDR result.

BELOW: Here’s the final HDR result, which has the distinctive glow associated with this technique. It’s possible in the Affinity Photo software to tailor the strength of the effect to your personal taste.

AFTER

VIDEO:

More information: / https://affinity.serif.com

Now head to the Professional Photo website at www.professionalphoto.online for an exclusive video where Matty talks through the techniques covered here in real time.

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NEXT MONTH:

One of the key issues for anyone including tall objects such as trees or buildings in a frame is converging verticals and we show how to correct these without the need for a tilt & shift lens!

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BE THE BUSINESS Welcome to our buzzing new business section, where some of the industry’s most forward-thinking marketing experts are sharing their advice.

Donal Doherty’s Marketing Masterclass

Have Some

WORDS AND IMAGES DONAL DOHERTY

W

Some photographers swear by wedding fairs while others go out of their way to avoid them, but the fact is they can be a great way to generate business if you approach them properly.

Fun at the Fair!

HICH SIDE OF the fence are you on? Whether you love wedding fairs or loathe them, there’s no doubt about it – if thought about carefully and you’ve done your research and preparation they have the potential to offer instant access to would-be clients and generate tons of referrals.

If you’re a newbie on the scene, keen to try them out for the first time, or you’re a seasoned pro who wants to up the ante, check out these easy ways to maximise the effectiveness of bridal fairs and hear about the experiences of two photographers who’ve found them to be a great way to reach their respective target audiences.

Before attending

Put in the necessary legwork before attending a bridal fair and you’ll reap the benefits. Firstly, make sure to promote it well in advance on your website and social media platforms. You might be thinking that publicity for the event should be down to the venue or organisers, but you need to play your part and getting the word out there as much as possible is a key way to ensure a great traffic flow of newly-engaged couples. Sometimes the organisers will provide a graphic to share or will use some of your images from that venue, so get fully involved, work with the show and spread the word as much as possible.

It’s also a good idea to create an offer or promotion beforehand. Something that always works well is a link up with other vendors attending the fair, and it’s a great way to reach a wider audience and gain more bookings. Think of promotions such as a package where both you

and your networking partner - perhaps a florist or an outfitter - will be booked together and let the venue know your offer beforehand so they can promote it.

Likewise, competitions always work well. No doubt there will be several of these going on around the other stands, so try to be creative to make yours memorable. Something visual always sticks in people’s minds, such as filling a jar with jelly beans and asking couples to guess how many are in it. It’s all about creating an enjoyable experience. Think about the value of your prize too: a free engagement shoot might not have as much impact as the potential to win your actual wedding photography. />

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ABOVE: Donal works hard to make sure that he gets the most out of the wedding fairs he attends.

On-stand competitions, plenty of albums to look through and special offers all work well.

This article first appeared in issue 164. For back issues please visit professionalphoto.online

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BE THE BUSINESS

DONAL DOHERTY'S MARKETING MASTERCLASS

Standing Out

Bridal fairs can be chaotic to say the least, with lots of traffic and multiple vendors, so make sure your stand makes an impression. It needs to not only showcase you as a brand but to stick in people’s minds. Think about how you can make yours worthy of stopping at. Leave some sweets on the table for kids - and adults too, obviously! - and always be friendly and have time for those visiting.

Stand at the front and allow attendees to check out your work. Most important of all, be engaging.

Ask a couple what their wedding date is to check if you’re available, and strike up a rapport, finding out how they got engaged etc. Show interest and be approachable. I don’t focus too much on pricing at this point as people will forget, but concentrate on leaving a lasting impression. Even if they don’t book there and then, they’ll remember you.

As previously mentioned, having an irresistible offer in place is an easy way to spark intrigue. In my experience, it’s better to add value, rather than discounting your work, so decide what you can do to snap up those bookings on the day.

It’s also essential to ensure your wedding albums are presentable and up-to-date. If you’ve previously shot a wedding at the venue you’re at create a sample album as this affords couples the chance to see exactly what it would be like if you photographed their wedding. Finally, if timing allows it, take some quick photos of the other vendors and the fair in general. Strike up a conversation with them and send them the photos post-event so that they remember you too. Bridal fairs aren’t just about getting direct bookings, but building up relationships with other vendors so that you can increase your referrals long term. You could even consider adding these to your social media and tagging the other vendors.

And finally…

If you collected email addresses (GDPR compliant, of course), make sure you follow these up afterwards as these warm leads are your ticket to achieving bookings. Put together an email campaign, with details of any offers discussed at the fair. Try to make the email as personal as possible, thanking them for stopping by your stand and wishing them luck with their wedding planning.

Follow this advice and you’ll get the very most from the wedding fair experience and it will be worth all of the time and expense you put in.

Now read about how two very different wedding photographers made sure that the fairs they were attending worked brilliantly for them.

Brett Florens Given the profile he’s achieved as a trainer you might think that Brett Florens doesn’t have a huge need to promote his business through a wedding fair, but he took the view that it was the perfect way to enhance his status in the area of destination weddings, which is his speciality. Accordingly he invested heavily in booking a space at an event that he knew would be attracting the clientele he wanted to target and he also produced a bespoke stand that was totally in keeping with the message he was looking to put across.

“I do a lot of research before making my investment because it’s important for me to pick the right show to attend,” he says, “and I’ll only do one every two years or so. My most recent event was the Bridal Show in London that was pulling in visitors who spend around 42% more than average and that’s the high-end market I’m looking to introduce myself to.

“Because I want to push the fact that I cover destination weddings I wanted a dramatic big picture that I shot specially and this very much said who I was and attracted people who were

ABOVE: Brett travels to his chosen show with a lightweight frame for his stand that can be assembled quickly and easily by one person if necessary.

RIGHT: Brett's finished stand at the Bridal Show in London featured a huge bespoke image that conveyed the theme of destination weddings.

Brian Sherry The USP behind Northern-Ireland based wedding and portrait photographer Brian Sherry’s business is the fact that he has a fully portable set up that allows him to take his studio to people rather than them having to

BELOW: The brides Brian encounters at wedding fairs are looking for examples of his work and reasons why they should book him.

More information: / https://engagelive.co / https://brettflorens.com / briansherry.co.uk 38 / PROFESSIONAL ANNIVERSARY EDITION 52 PROFESSIONALPHOTO PHOTOFREE ISSUE 164

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DONAL DOHERTY'S MARKETING MASTERCLASS

looking to get married abroad while perhaps keeping away others that didn’t relate so much to the image.

For me that’s good since I only have a limited time and I could be talking with someone who just wants to drop by for a chat while someone else who could be a really good lead passes by.

“I had two albums on the stand: one specifically targeted a very fashion orientated bride and the other her mother. So the bride sees the album that’s aimed at her and while her mother is standing around I show her the album that’s aimed at her.

So they see two very different albums but both like them and that makes a strong impression.

“I also choose very carefully where my stand is located and at this show I was adjacent to Bobby Brown make up, which attracts the type of client I’m looking to appeal to. The bride will have her m/u

come to him, which is useful since it he lives in the middle of nowhere. This isolation also means that he needs to spread the word about his business since he doesn’t have a shop front people will pass.

“In the three years I’ve been covering weddings I’ve attended around eight to ten wedding fairs, but from these I’ve only acquired around four to five direct bookings,” he says. “I’ve always met plenty of engaging brides, but I find a lot are there just to have a look at what people might have to offer.

“However, I took some tips from Donal’s website, particularly the point about being more engaging with the brides, asking them how they and their partner met and running the little competitions. I had a jar of paper stars and offered the person who guessed how many were in there a £400 voucher off my wedding packages. The way they entered was by providing their email addresses and their guess, and that way I was able to forward on the information from the wedding fair to the 64 who took part the next day. It was one of my best responses ever.

BE THE BUSINESS

done and then she’s in the right place to come over to me. Meanwhile right behind me was UK dress designer Suzanne Neville and I wanted to make friends with this company and to let them know what I’m about so that we can build on that relationship and I might eventually get to shoot their catalogue.”

So much for the big events, but is it worth photographers targeting smaller local shows where the audience attending might be more general?

“Absolutely,” confirms Brett. “Not only do you want to introduce yourself to potential clients but these shows are a wonderful opportunity to meet other suppliers in the wedding business such as florists, wedding planners and outfitters and you’ll have the chance to network and make some great contacts.”

ABOVE: There are two albums for visitors to look through on Brett's stand and one is designed to appeal to the bride and the other to her mother, who will often be accompanying her.

“In general I think wedding fairs can be a bit hit and miss. I would advise people to get in touch with other vendors and to find out some information about the fairs you’re interested in before you book.

You need to do your research and make sure the event is going to be right for your business.”

ABOVE: Brian's USP and one that he wants to promote at wedding fairs is that he has a portable studio and can travel to his subjects.

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MY PROFESSIONAL LIFE

Life after Blogs

This article first appeared in issue 162. For back issues please visit professionalphoto.online

Lisa Devlin

Is the wedding blog on its way out as photographers find other ways to market themselves? Times are changing and Lisa explains why bloggers are having to work harder to stay relevant.

W

parenting advice. When faced with too much choice HAT’S YOUR number one method for we need filters. We ask those who have been in marketing your wedding photography? the same situation before us or who are experts in If you’d asked me or any number of the field. This is why referrals is right up there as a wedding photographers this question brilliant marketing tool for wedding photographers. five years ago then getting featured on wedding blogs would probably have been our top answer. There was a point where I would have said it was the holy grail Instagram of marketing. Getting a wedding featured on one of Instagram launched for IOS in 2010 and on Android the most popular wedding blogs was a guaranteed in 2012. At first it wasn’t a place for marketing your way of booking more clients. business, it was a place to show the world what you Confession time: There was a point where, as had for lunch and what tricks your cat could do. Then soon as I posted a sneak peek on my social media, I the mighty Facebook took it over and when, in 2016, it would get approached by at least one wedding blogger stopped showing content in chronological order and asking if they could feature the was algorithm-fuelled instead, it wedding. And I was pretty damn “Like all of us, wedding suddenly meant that we all had to smug about it all. Wedding up our game to stand out. bloggers are having to blogs need weddings and Every wedding photographer photographers need publicity, evolve to survive and the I know now puts a lot of effort so it was all one big lovely selfones that do are the ones into their Instagram accounts. I feeding circle. For a while… now directly book couples via my that are still relevant and Instagram. For them, looking at So what has changed? Now wedding photographers could still worth being a part of.” hashtags that are relevant to their be using any number of means wedding style or venue is a much to market themselves but I’m sure that right at the more efficient filtering system than Google and, like top these days are referrals and social media. And we spoke about last month, they are using Instagram there are two big reasons I can think of for this.

Collections to collate and save images that they like.

As we’re all spending so much time on our phones these days this is just how weddings are planned now.

Market Saturation The sheer number of people offering their services as wedding photographers has now increased so The New Look Blog much that it feels like it’s at saturation point. Type So, where does this leave the wedding blogs and ‘Wedding Photographer UK’ into Google and it should we as photographers bother with them any currently returns 88,100,000 results. more? The best are still thriving and I asked the UK’s OK, there are not quite that many of us but number one wedding blogger Kat Williams from Rock imagine you’re a couple starting out on your n Roll Bride what she thinks the biggest changes have wedding planning journey. You start having a look been in her business in the last five years or so. on Google to get ideas and immediately feel utterly “It’s not enough to just be a blogger any more,” overwhelmed by the whole process. So, what do folk she told me. “You can’t just write a few blog posts and do when they feel like that about booking anything? expect to make a living from it. As a content creator They seek out personal recommendations. you have to have your fingers in many, many more It’s why Trip Advisor is dominating the travel pies than you used to and you’re expected to be an industry and why Mumsnet is the go-to place for expert in every one of them. There’s Instagram (main ANNIVERSARY EDITION 40 / PROFESSIONAL PROFESSIONALPHOTO PHOTOFREE ISSUE 162

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MY PROFESSIONAL LIFE

BELOW: BELOW: You need need to to be be getting getting You your work work out out there there to to your attract clients clients and and this this attract image is is from from one one of of the the image regular shoots shoots Lisa Lisa does does regular for Rock Rock ‘n ‘n Roll Roll Bride.

Bride. for

BE THE BUSINESS

feed, stories and IGTV!), Facebook, Facebook groups, YouTube, Snapchat… Then there’s written content, video content, podcasts… and ideally you’d be creating unique content for each and every platform.

“You absolutely cannot make a decent living by just relying on advertising revenue anymore. Brands and businesses are much more savvy about what they want and audiences are pickier about what they’ll even click away from social media to see these days.

I’m constantly having to figure out where to put my content to make sure that people will see it and it’s not just a blog post anymore.

“However, I still think there is a place for blogs, and hosting your own content on a platform that you own is still pretty vital. Just look how much people lose their minds when Instagram goes down for an evening: if that’s your whole business or marketing strategy it’s a very scary situation to find yourself in.”

Rock n Roll Bride is also now a print magazine and Kat is personally focusing a lot more on that and growing her own newsletter. “Blogs and personal websites are still great for SEO and searchability,” she says, “and having evergreen content that people can still find and read. We have old blog posts that still get views from Google every single day, and you simply don’t get that from old posts on social media, whatever the platform.”

Evolve to Survive

Like all of us, wedding bloggers are having to evolve to survive and the ones that do are the ones that are still relevant and still worth being a part of.

Remember people like filters in a busy market and bloggers all have their own style and therefore attract their own unique following.

I do still submit weddings to bloggers when I feel they are inspiring to their followers. I also shoot for Kat’s magazine every issue and I worked with her on the shoots for the book she published last year. There are plenty of ways to get your work onto blogs even if you don’t have full weddings yet that might be strong enough for a feature. They all need images to illustrate articles and most will accept really creative styled shoots. Some will even accept written guest post submissions, so if you’re a decent writer and have a unique idea for a feature it’s worth approaching them about that too. P / photographyfarm.co.uk / @devlinphotos @photographyfarm

I WANT TO HEAR FROM YOU!

I’m loving writing this column but it feels a little one-sided. So, get in touch: I’d love to hear from you and discover what your thoughts are on the topics raised. Connect through my social channels and let’s chat!

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BE THE BUSINESS

This article first appeared in issue 162. For back issues please visit professionalphoto.online

WEBSITE MARKETING MACHINE

Are you setting up

Your Portfolio to Sell?

Melissa Love

You’ve attracted visitors to your website and let’s assume they like what they’re seeing. How do you now turn that interest into sales? Melissa outlines the steps that will help turn those casual browsers into buyers.

How do people buy photography?

It all seems pretty obvious - they look at your work and get in touch. Or do they? Researching a purchase can now happen anywhere. In fact, 60% of Google searches now take place on mobile, which means a potential client’s first visit to your site is likely to be via this route. And this is the kind of research people do during their downtime; commuting to work or lounging on the sofa at the weekend with an iPad. If you’re lucky you’ll make their shortlist and then it’s time for round two. Here’s where it starts to get interesting. Good news: returning visitors are much more likely to visit on a laptop or desktop, because they want to get a better look at your work.

Now you’re through to round three. You’ve make the cut and you’re on their shortlist. You’ve received an enquiry and you’ve responded. If you’re in the right price bracket, it’s decision time. Here’s where you need to make sure you’re giving them the right tools to sell you to someone else. Because the final decision rarely happens in a vacuum, particularly ANNIVERSARY EDITION 42 / PROFESSIONAL PROFESSIONALPHOTO PHOTOFREE ISSUE 162

RIGHT: The blog posts on Andrea Ellison’s website are all tailored to her ideal wedding couple, with the intention that it will atract the clients she ideally wants to be working with.

BELOW: Detail shots should be a crucial element of your blog posts and those that are bright and colourful can stand out whatever size they’re viewed at.

when it comes to wedding photography. At this stage, most people will sit down with their partner, a relative or trusted friend to make the final decision regarding who they want to work with. They’ll be looking at your work on a bigger screen and revisiting the websites of everyone on their shortlist. Are you ready to wow them? Here’s my checklist.

© ANDREA ELLISON

L

ET’S TALK ABOUT HOW a website visitor becomes a buyer. The first thing to realise is that it doesn’t happen by accident. The path to purchase is paved with small nudges that move people into your world, from recommendations through to Instagram stories or even great SEO. It’s easy to focus too hard on getting traffic to your website in the first place, thinking that once people arrive that somehow that very experience is magically going to take care of the entire sales process. Because surely when they see your stunning portfolio, they’re bound to book your services, right?

In fact, getting a potential client through the front door of your business is only the first step in the process, because the way people browse for, and then buy, photography has changed beyond all recognition and you need to make sure you are giving your visitors all of the tools they need to move through your website and to then take action.

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© ANDREA ELLISON

Andrea Ellison’s website and portfolio page. From the moment you land on her site she lets you know the ideal client she’s looking for. Chilled out, relaxed and fun loving. Hit her portfolio page and the message couldn’t be clearer. The titles of the blog posts she shows below her main gallery - such as ‘A Laid Back London Pub Wedding,’ ‘The Chilled Out Castle and Beach Wedding’ and ‘A Relaxed Back Garden Wedding’ - describe exactly the kind of couple that she’s looking to attract and it draws you in.

The Killer Gallery

Niche Blog Posts

Whilst having a killer main gallery shows off your general style your portfolio area is also a great opportunity to attract your ideal client more strongly.

The best way to do this is by signposting your visitors to key blog posts, which have been carefully crafted to show people the niches you are interested in.

If you want an example then go and tale a look at

I build a lot of websites for photographers and the biggest battle I tend to have is over the portfolio.

Problem #1: Inconsistency of editing style.

Editing styles evolve over time - of course they do. But it’s easy to let your portfolio gallery get stale and just keep adding to it. I’d also throw into the mix that lots of different crops can be distracting.

Problem #2: Too many similar images Culling is hard, I know that. And sometimes it’s hard to let go of old favourites, but you need to be ruthless. Divide what you shoot into topic areas - for example, getting ready, the wedding ceremony, the speeches etc - and make sure each is fully represented in your gallery. P

TOP: Read through the blog posts on Andrea Ellison’s website and they’re full of images of the types of couples she wants to attract.

/ The Design Space: https://thedesignspace.co/ Visit Andrea Ellison’s site at: / https://andreaellison.co.uk/

ABOVE: Andrea’s site is bright, lively and visually attractive and it’s designed to work on every format from big monitors down to smartphones.

RIGHT: You need to have images on your blogs that have the ability to jump out and work whatever size they might end up being viewed at.

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© ANDREA ELLISON

Everyone needs one gallery of all-killer, no-filler shots. It’s needs to be your best-of-thebest work, and around 20-30 images maximum is ideal. If someone is going to sell you as their first choice to another decision-maker they need to be able to pull up your best work and to show it off, quickly and easily, and it has to look its absolute best. Don’t make them go digging through blog posts or several pages to get to your gallery. If it seems like too much hard work they’ll walk away and never come back.

Consider your own shopping experiences. I like to compare TKMax with a curated retail experience like Waterstones, the booksellers. When you go into TKMax, you know there are likely to be some gems in there somewhere, if you take your time and are prepared to look hard enough. But generally it’s chaos and sometimes you just can’t be bothered with it.

Waterstones, on the other hand, is a magical, carefully-crafted experience. The best sellers are just inside the entrance - an easy win. Head for a department and you see more of the same with popular books on a table. Browse the shelves and you’ll see the recommended staff picks, helping you to find more of what you like. They make buying easy.

Ruthless Curation and Consistent Editing

NEXT MONTH:

The Contact Form on your website is the standard way to generate enquiries but it can also be formulaic and boring. Melissa shows how it’s possible to stand out from the crowd by being just a little bit more inventive.

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This article first appeared in issue 164. Please note some details and pricing may have changed. Check with individual societies for current rates and offers.

For back issues please visit professionalphoto.online

ASSOCIATIONS

PHOTOGRAPHIC ASSOCIATION

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Support WORDS RICHARD BRADBURY

P

ROFESSIONAL PHOTOGRAPHY can be a solitary profession. With the exception of the odd assistant or two we spend most of our business lives working alone.

We shoot on our own, retouch on our own and plan our marketing on our own. However, it’s a recognised fact that groups generally make better business decisions than individuals might be able to. That’s why successful companies are run by a board of directors; so how can we become better photographers and improve our photographic businesses without the help of a boardroom table?

Photographic associations are an invaluable resource for freelance individuals in need of the type of expert services that every photographic business needs. Now we all know there is another resource available out there. It’s free to access, on tap twenty-four hours a day and can provide pretty much any advice you might need, from how to shoot cars with mixed daylight and off-camera flash to comprehensive feedback on how best to approach your next tax return. It’s called the

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Photographers don’t have to trade in isolation since there are a number of professional bodies out there that can offer support, training advice and awards. Which is the right one for you?

‘Internet’ and increasingly it seems to be the go-to place where most of us head to look something up.

It would be fair to say that photographic associations and Institutions have found it hard in recent years to compete with the world wide web.

To the casual onlooker it can seem that the web can solve every problem and teach every skill required.

But beware! Not all the ‘experts’ you encounter on the web are worthy of that title, while just maybe some of those ‘special offers’ you’re encountering are not always as ‘special’ as they seem.

I’ve been a member of several photographic associations since I first opened my studio doors some 30 years ago. There are a few different groups to consider if you’re a UK based photographer and they all have their particular idiosyncrasies.

Unlike the Internet, the associations are run by people who really do know what they are talking about. Experienced photographers and business professionals are a guaranteed part of the package, but are they really worth those annual fees and which is the right organisation for your business?

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The Association Of Photographers – AOP / the-aop.org Based in London, the AOP has been around since 1968 and has a clear agenda to service advertising, editorial and commercial photographers. They deal exclusively with business-to-business photographers, and their ranks have always included some of the most respected photographic names in the business, giants like Nadav Kander, John Claridge and Tim Flach. They remain one of the most respected photo organisations in the world and the annual AOP awards are amongst the highest accolades in photography. The AOP is headed up by Seamus McGibbon who interestingly is not a photographer in his own right. After many years working in theatrical arts management Seamus has brought a fresh approach to the role and during his tenure has reshaped the AOP as a forward looking organisation.

There are currently approximately 2700 AOP members, with membership offering a number of benefits including special deals for insurance, marketing and many other services, such as discount prices on Apple Macs, Capture One, Holborn Studios and Bikinilists.

ELIGIBILITY: There are several different types of membership, but to join you have to be involved in a professional way in the photographic industry. The main membership is for Accredited Photographers, who must show they are working in the creative industries and then present a working image portfolio before being accepted. There are several other categories, such as Photographers’ Agents, Assistant Photographers, Students and Affiliated Companies.

BENEFITS: The AOP has always been the reference point for high end professional photography in terms of advertising and editorial work, so when the advertising industry needs to talk it talks to the AOP. A good example would be the discussions that took place over a long period of time with a select group of advertising art buyers and photographic commissioners to establish an invaluable set of guidelines for image usage rates, both nationally and internationally. These guidelines are not law but are now published in a

ABOVE: Conceptual still life and food photographer Dan Matthews won a silver award for his ‘Neon Pears’ series in the latest set of AOP Awards.

book called Beyond The Lens (available in PDF form to all members) and they form the basis of most rights negotiations in the commercial photography sector.

Initiatives such as these create a level playing field and demonstrate what photographic organisations can do for freelance photographers across the country. They are there to ensure we all get a fair and reasonable crack of the whip as well as giving clients a reference point that they know is universally recognised.

The AOP’s website offers a portfolio facility to its members and also supplies a very useful list of professional photographic assistants, with only the best making it onto its pages. In addition to the AOP Awards they also hold the annual AOP Assistants’ Awards, helping to encourage the next generation of top commercial photographers. There’s also a valuable listing of equipment sales, studio hire and jobs in the photo industry available to members.

RIGHT: Vikram Kushwah’s ‘Women in Bathing Suits’ series was shortlisted in the AOP Awards.

“The AOP’s website offers a portfolio facility to its members and also supplies a very useful list of professional photographic assistants, with only the best making it onto its pages.”

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Throughout the year The AOP is well known for organising talks and seminars that members can attend for a small fee. In this way members are able to meet up with some of the top names in the business to learn more about photographic techniques, business, marketing and rights issues as well as having the opportunity to attend specialist talks on members’ unique projects.

COSTS: Annual fees vary from £25 up to £396 for full Accredited Photographers.

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The Guild Of Photographers / photoguild.co.uk Known to members as simply ‘The Guild’, The Guild Of Photographers was launched thirty years ago by professional photographers Roy Doorbar and Ian Gee. Forward thinking individuals, they were responsible for introducing personal liability and injury insurance to freelance photographers. This type of insurance is now accepted as a base-line requirement for all working photographers and was the catalyst on which the Guild was launched.

Based in Stoke On Trent in the Midlands the Guild is well placed to service its members from all across the UK. The association believes very strongly in supporting photography as a ‘craft,’ and this is the ethos that comes across from a loyal membership and is championed by a devoted team.

ELIGIBILITY: The emphasis on craftsmanship

is where the ‘Guild’ name comes from and, while happy to welcome amateurs into their ranks, usually as ‘standard’ members, great facilities are offered to the professional with one of the most comprehensive member packages of all the associations, one that involves an extensive and invaluable list of services and facilities.

BENEFITS: In addition to the insurance cover famously promoted by Roy and Ian, the Guild provides 24 hour legal advice, contract dispute cover, a debt recovery service and income and tax investigation protection. Guild membership also includes a valuable copyright protection service, which utilises a reverse search engine to uncover theft, reflecting the Guild’s commitment to support its members and the work they create.

The support offered goes beyond being just an advice service. Legal teams will step in to act for the members at no cost, either defending them or seeking financial compensation if there has been unauthorised use of their work.

When it comes to qualifications once again the Guild’s offerings reflect the original ethos of craftsmanship. After becoming a registered member the first stage is to reach ‘Qualified’ status. This is attained in the normal way of presenting a panel of images to a group of judges, all of whom are longterm Guild members with experience at the highest level. The next stage up is ‘Craftsman’ and the highest accolade is ‘Mastercraftsman’.

The Guild also runs an awards system which is unlike that offered by any of the other organisations, with the aim of being both

ABOVE: Jason Allison was named the overall winner in the Pet category of the latest Guild Awards.

RIGHT: Scott Johnson won the Wedding Category in the Awards with this innovative bridal portrait.

aspirational and inclusive. There’s a monthly image competition with members gaining Gold, Silver or Bronze medals according to the quality of the image. Each winning entry is scored and at the end of the year the scores for all the winning entries for each category are added up. The person with the highest number of points becomes the Guild’s Photographer Of The Year, and there are

“There’s a monthly image competition with members gaining Gold, Silver or Bronze medals according to the quality of the image.” ten different photographic genres to enter. In this way you are not only judged on one image but encouraged to produce excellent award winning images throughout the year.

At the awards ceremony there is also an ‘Image Of The Year’ which, of course, is hugely prestigious.

There is also a ‘Founders Cup’ competition, which is exclusively open to members who have not won an award before. It’s a great way of encouraging all the members to try harder and for those who are new to competition events to feel included in the awards.

ABOVE: Joanna Bradley won the Newborn Category in the latest Photographer of the Year Awards.

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COSTS: No one could deny that membership of the Guild represents excellent value for money. The annual fee is £99-£129 (£10.75 a month for Standard members, £13.25 for Professional members). Ninety per cent of the members are part or full time professionals and members receive a professional package that’s estimated to be worth over £600 if purchased separately. The association produces two bi-monthly magazines, Creative Light and Camera Craft, both of which are beautifully produced and packed full of features and information.

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12 OCTOBER – 22 DECEMBER

19 & 20 OCTOBER

The Royal Photographic Society, 337 Paintworks, Bristol.

Using the most controversial murder investigation in Icelandic history, Jack Latham explores the fundamental relationship between the medium of photography and truth.

Gallery open Thursday – Sunday

Find out more rps.org/spt

BOP brings together a diverse range of photobook publishers from the UK and Europe and is supported by a programme of photographer’s talks.

Entry to the festival is free, artist talks are ticketed. Hosted by Martin Parr Foundation and The RPS.

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The Royal Photographic Society – RPS / rps.org It’s true to say that the Royal Photographic Society is the great grandad of all the photographic organisations. The oldest continually running photographic organisation in the world, it was formed in 1853 by a group of enthusiastic gentlemen in London who had been encouraged by the international sensation of The Great Exhibition in 1851 to celebrate photography’s role as a unique art form in a modern developing world.

It took several meetings to convince William Henry Fox Talbot, who had invented the Calotype process in 1841, to relax his patent on the process to enable amateurs to enjoy and expand the new art form. In 1894 the Society finally achieved its Royal status, having been patronised by the Queen and Prince Albert for some time.

The spirit of those early pioneers still flows through everything the RPS does and stands for.

The Society has an undying commitment to the art and science of photography and has been instrumental in many developments over the years.

It may be old but it it’s certainly not decrepit: the regular exhibitions, talks and workshops that are presented are amongst the very best in the world and the RPS’s membership list reads like a roll of honour for the great and the good of photography.

ELIGIBILITY: The Society’s current base is RPS

“The RPS has always had a close connection to the science of photography over the years, and this is reflected in the Imaging Scientist as well as Creative Industries awards.”

ABOVE: Academy Award winning director Yorgos Lanthimos was awarded the Cinematic Production Award by the RPS in its 141st Awards for his acclaimed films ‘The Favourite’ and ‘The Lobster.’

House in Paintworks, Bristol’s new creative quarter.

They have a membership of 11,300 people from all walks of photographic life, the bulk of whom are professional or ex-professional photographers but they are also open to the ranks of enthusiastic amateurs. The third type of membership is

ABOVE: French photographer Sophie Calle was awarded the Centenary Medal and an honorary Fellowship from the RPS.

LEFT: Flour Beetle by David Spears, an image shortlisted in the RPS’s Science Photographer of the Year Awards.

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reserved for people involved in and connected to the photographic world, such as equipment manufacturers and other businesses that rely on photography for their income and patronage.

BENEFITS: The tangible benefits to members include an award winning monthly magazine called RPS Journal, as well as reduced or free admission to over 500 annual RPS events, workshops and courses including the Society’s annual International Photographic Exhibition, the longest running photographic exhibition in the world. In addition the RPS is home to 15 special interest groups that cater for every field of photography.

The RPS offers the familiar Licentiate, Associate and Fellowship awards but also, sometimes offers a direct Fellowship to photographers whose work is of an exceptional standard. These direct awards are extremely rare and are reserved for only the most recognised talent in the world, creating enormous kudos for winners. The RPS has always had a close connection to the science of photography over the years, and this is reflected in the Imaging Scientist as well as Creative Industries awards.

COSTS: Sadly the original one guinea membership fee is no longer in existence but the standard annual membership fee is a modest £120 or £90 for the over 65s. This is clearly fantastic value and it helps the RPS to fund several charitable objectives.

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PHOTOGRAPHIC ASSOCIATIONS

Breeding Thoroughbreds Since 1901

T

he British Institute of Professional Photography (BIPP) is the world’s premier professional qualifying photographic body dating back to horse drawn carriages.

Our qualifications are respected globally across a variety of photography genres. Our worldwide members cover every discipline (including Equine) helping to ensure the future of the photographic profession.

We work with government groups like the Defence School of Photography, industrial titans like Rolls Royce, colleges, training centres and individuals.

Whether you are a bright eyed foal, or a battle weary war horse looking for new pastures, the British Institute of Professional Photography can provide the leg-up you need to achieve your future goals and more.

For more details on joining or our qualifications system, contact us now on 01772 367 968 or email admin@bipp.com.

Image: Emily Hancock FBIPP

British Institute of Professional Photography, The Artistry House, 16 Winckley Square, Preston, Lancashire PR1 3JJ tel 01772 367 968 email admin@bipp.com web www.bipp.com

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The British Institute Of Professional Photography – BIPP / bipp.com Formed in 1901 when one hundred photographers met in a bar in Fleet Street to form ‘The Professional Photographers’ Association,’ the BIPP has a proud history. Several name changes later the present British Institute of Professional Photography was arrived at and the organisation now boasts over 1600 members. Earlier this year some significant changes were made with the arrival of a new CEO, Martin Baynes. Martin is a well-known character in the wedding and portrait fraternity, coming from a senior position at premium Italian photo album producers Graphistudio, and he’s currently shaking up the organisation and is overseeing an expansion.

His first job was to re-locate the BIPP headquarters to a new home in Preston, giving the BIPP a central geographical location in a beautiful building called Artistry House, which now houses some of the area’s best creative businesses.

Overs the years the BIPP has had a close and rewarding association with many academic courses and frequently offers up experienced speakers who can talk to graduates and undergraduates about the benefits to be had from long term membership.

They can also be found in government circles working with The Defence School Of Photography and the College Of Policing as well as prestige private companies such as Rolls Royce.

ELIGIBILITY: The BIPP accepts new members from many different specialist fields but insists they need to be correctly insured and meet various other professional requirements before they can join.

They also encourage members to produce personal creative work alongside their everyday imagery.

The BIPP offers three levels of qualified membership for professional photographers.

After joining you’re required to offer up a panel, defined as a coherent body of work connected by a theme or style, which needs to be supported by a written report. Provided the work is up to the required standard the applicant is then granted a Licentiateship, Associateship or Fellowship depending on the quality of the panel.

BENEFITS: Successful members can place the letters LBIPP, ABIPP or FBIPP after their name on cards and email sign-offs etc. This is a sign of quality and helps to reassure a potential client that they are dealing with a qualified, professional photographer. Fellowships are much sought after

ABOVE: Catherine Beltramini included this portrait as part of her Fellowship Panel.

WPC Awards

Of further note is the fact that the annual World Photographic Cup - WPC awards regards the BIPP as the key photographic organisation within the UK. You have to be a member of the BIPP if you want to join team GB and compete alongside teams from Russia, China, USA, Australia and many other countries for this truly international event.

The same is true for the Federation Of European Photographers – FEP.

and only granted to the very best in the business.

It’s rare, but some photographers have been known to apply for more than one fellowship, which can be awarded in different disciplines such as ‘wedding’ ‘portrait’ or ‘documentary’ etc. Members are drawn from every field of professional photography, from wedding to scientific, social to commercial.

Fellows of the BIPP form the pool of judges who assess annual awards, so the experienced members of the association are expected to share their knowledge and skills with the membership at large.

The annual BIPP Awards have changed and developed over the years and are there to reflect the ideals of the association, encouraging the highest artistic standards. To enter you’re required to present a set of five images that must work as a series, and these are then assessed as a serious body of work: there are no single image categories.

Membership of the BIPP entitles you to discounts for equipment insurance plus the right to enter regional as well as national awards, along with a glossy quarterly magazine. Further benefits include a twenty-four hour legal helpline and access to some of the most established professional photographers in the business.

COSTS: Membership costs £25 per year for students whilst still studying and £225 per year for full time working professionals.

RIGHT: Janice Dongworth’s project on care homes was considered to be the best Licentiateship Panel of 2019

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PHOTOGRAPHIC ASSOCIATIONS

The Society Of Wedding and Portrait Photographers – SWPP / swpp.co.uk The SWPP was formed in 1988 as a division of the Master Photographers Association to reflect the particular needs and requirements of wedding and portrait specialisations, which makes up such a large chunk of today’s professional business. After just two years the Society was made an independent organisation in its own right and since then, with Colin and Juliette Jones and the Jones family at the helm, things have gone from strength to strength.

Over time there came a need to broaden the reach and the Societies Of Photographers is now the group name for a collection of bodies that cater for other specialities. So there is now the SIFGP (Society of International Fashion and Glamour Photographers), SICIP (Society of International Commercial and Industrial Photographers) and the SINWP (Society of International Nature and Wildlife Photographers) amongst several others.

In total the Societies has over 5000 members, making them second only in numbers to the RPS, although their emphasis is very different.

The SWPP is the major body, with wedding and portrait photography being the primary focus, with commercial photographers coming a close third.

The rest of the membership is made up from the fields of science, nature and fashion.

ELIGIBILITY: The fact that anyone, fully professional or otherwise, is entitled to join is one of the SWPP’s great attractions, and it’s one of the reasons for the healthy membership numbers. It means aspiring, as well as full time, photographers can join and network and take on the training that’s available to take them to the next level.

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“The Societies Convention is the largest gathering of its kind in Europe and takes place over four days and includes a very large trade show with over 100 exhibitors and 200 hours of workshops and seminars that can be attended.”

BENEFITS: The Awards structure at the SWPP is possibly the most comprehensive of any of the professional bodies, with a well-established monthly competition arranged into twenty seven categories that covers everything from architecture through to wildlife. You’re allowed to enter just one image per category per month, although you can enter several different categories. Winning images are awarded either a Gold or a Highly Commended and there is also the coveted Judges’ Choice Award.

The Gold images plus a re-selection of the Highly Commendeds go through to the national awards ceremony which is held in London in January of every year during the annual Societies Of Photographers Convention, an overall winner in each category being announced on the night.

The Convention itself is the largest gathering of its kind in Europe and takes place over four days and includes a very large trade show with over 100 exhibitors and 200 hours of workshops and seminars that can be attended.

Professional Image Maker is The Societies’ own bi-monthly publication and it’s the most comprehensive associations’ magazine out there.

It’s a great platform to promote the convention and inform members of the various road show and workshop events being staged. The SWPP also offers long term mentoring and other benefits such as legal cover, insurance and discounts.

LEFT: The Societies Studio Portrait Photographer of the Year is Kristian Piccoli.

COSTS: Membership costs £5 (Digital), £8 (Enthusiast) and £10 (Professional) per month and the Society is run by a small but very efficient team of professionals, with each one specialising in a different area of the membership.

ABOVE: Dr Fong Chan On won the title of Children Photographer of the Year in the Societies Photographer of the Year Competition.

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PHOTOGRAPHIC ASSOCIATIONS

BUSINESS

The Master Photographers Association – MPA. / thempa.com The MPA first opened its doors in 1951 and the association, which currently has over 1000 members signed up, has its head office in Darlington. Its three missions are to train, mentor and qualify and those who join are encouraged to try for Licentiateship status, where you need to show a panel of work within a specified genre.

These include weddings, portraits, commercial, nature etc and the panel is assessed by a group of Fellows that sit at regular intervals throughout the year in different parts of the country.

If you’re successful then you’ll be encouraged to go for an Associateship and then a Fellowship. The MPA has an excellent mentoring program, which is designed to help members to attain their next level. It’s often the case that a good photographer might be missing some key elements to their work, either in the presentation or production of the panel, so mentorship is invaluable.

There are currently thirteen regional MPA groups and they meet a minimum of four times per year and usually more than that. They are based all across the country, so there’s guaranteed to be a region close to you. Each holds frequent events with speakers and also runs individual annual print competitions with help and advice to enable every member to move forward to the National MPA Awards.

This annual gathering, which takes place next month, is a lavish affair with a gala dinner and a series of industry events held over two days. Many top industry professionals are invited and this year’s event includes eighteen different speaker giving seminars. It’s a chance to catch up with old friends as well as make new ones within the industry. The awards cover most of the recognised specialisations, with the addition of some business awards for best website, charity project and customer service etc.

The evening is presided over by the MPA’s enigmatic chairman Ray Lowe, a successful photographer and businessman in his own right.

Ray also sends out a weekly ‘Missive’ to members via email which helps to keep everyone up to date with the latest goings on. Gaining an MPA award is not only good for your personal sense of achievement but also provides a great platform for you to promote yourself to new and existing

clients. They also help to improve the standards of the industry as a whole while giving individual photographers something to strive for.

ABOVE: Fashion portrait by MPA member David Charles

ABOVE: This classical image was produced on a David Stanbury Masterclass run by the MPA for members.

“There are currently 13 regional MPA groups and they meet a minimum of four times a year and usually more often.”

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ELIGIBILITY: As well as a strong UK contingent the MPA boasts members as far afield as Europe, Canada, Australia and the Far East. You join as a certified member requiring you to be a full or part time photographer, but you have to have professional insurance and a full knowledge of health and safety in the workplace to be accepted.

BENEFITS: The principle of mentorship and training is evident throughout the structure of the MPA in many incarnations.

You can request that two Fellows come along to your studio to assess both the good and the bad aspects of your practice.

In this way members can improve their own business through the experience of the established photographers.

The MPA has its own YouTube channel and three different Facebook groups, one for members, one for awards and one for the whole photographic industry. The MPA magazine is published six times per year and includes features on everything from members’ work to general articles about improving your photography.

Ray Lowe may be the Chairman of the MPA but he also has the honorary position of ‘President’. This role is offered to photographers that the committee feels are at the top of the industry and well respected within their particular filed. It’s an unpaid position and the President is expected to tour the country meeting members within their regions and to help train, mentor, educate and inspire.

I’m proud to say that I was made MPA president for 2018 and it was a lot of fun talking to members about their businesses and their photography on their home ground. It’s a role that requires a huge amount of time and commitment as there is a lot of travelling involved, with frequent nights away and a constant barrage of questions and requests. The role of President is yet another area where the MPA seeks to spread the knowledge to its members in a very real and cohesive manner.

COSTS: Membership costs £169 per year with student membership for free.

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S R M D

P E E D A N D E S O L U T I O N A K E A L L T H E I F F E R E N C E

Experience the powerful combination of high speed and resolution. Possessing an impressive 45.7MP back-illuminated FX CMOS sensor and 9* fps shooting, the full-frame D850 unlocks amazing possibilities. Whether it’s weddings, landscapes, commercial, sports or fashion, capture it all with optimised imaging performance – thanks to ISO 64-25600, a class-leading optical viewfinder, 153-point AF, silent mode shooting, long battery life, 8K time-lapse** and 4K UHD video. Equip your D850 with your prized NIKKOR lenses for perfect integration and stunning results. Learn more at Nikon.com * Requires the optional MB-D18 Multi-Power Battery Pack and EN-EL-18a/b battery. ** Requires Interval Timer settings and 3rd party software.

PHOTOGRAPHIC ASSOCIATIONS

BUSINESS

Should You Sign Up? In addition to the big six I’ve mentioned in this feature there are numerous specialist organisations. The Reflections Marketing Group RMG, for example, is a recent newcomer and there are associations for new born specialists, nature photographers and just about every other genre you can think of. Then there are the European and World organisations to consider, so the options are truly endless.

In a world that’s ever more dominated by free information available from the internet there is a credible argument to say that photo associations are a thing of the past. After all, who needs to pay an annual fee when you can get it all for nothing on the web? Be very careful before you jump to a conclusion however. The web is brimming over with selfaggrandised YouTube gurus of every possible variety, from photographers through to business experts, life coaches and lighting technicians. Some are great while others will mislead and misinform you, so there is still real value in being part of a body that has a worthy history and reputation, and you get to meet real people face-to-face as a bonus!

As previously mentioned I’ve been a member of several photographic associations over the years and have won numerous awards, judged several of their competitions and have given talks and seminars at their various conventions, so I know a thing or two about membership. While at times there can be issues with how some of these associations are organised and the politics that can go with the territory, on the whole it would be hard to argue that they don’t collectively enhance and aid the progress of our art, our business, our craft and our social relationship with our fellow professionals.

So do you need to become a member and, if so, which is the best organisation for you? There is only one person that can answer that question and that is you. Take stock of what’s out there, see what fits your needs and be prepared to put something back as well as to take out. You don’t have to restrict yourself to just one body and remember that, if you’re a professional filling out your tax form each year, you can set your association fees against your earnings. It’s good to give back and to belong, so join in, get networking and build up your skills!

UK Professional Photographers / www.ukprofessionalphotographers.co.uk One of the latest bodies formed to help Professional Photographers is the UK Professional Photographers Group, which differs from some of the others covered here in that it’s primarily designed as a marketing vehicle that connects customers with photographers.

The UKPP was created this year by the Reflections Marketing Group (profiled in Professional Photo Issue 160), which evolved originally from a small group of photographers in the west country who got together to develop their own marketing and business skills. This ultimately led to the creation of the Pet Portrait Awards and the subsequent launch of the popular National Portrait Awards in 2017.

Now the organisation is looking to expand and to invite professional photographers around the country to sign up to receive local free leads in their chosen genre or genres.

free local leads that are generated by the UK Professional Photography’s advertising, which is shortly to include a national radio campaign. The aim is to use a professional association principle to create an industry body that those looking to book a professional photographer will come to if they’re looking for a guaranteed level of service.

By advertising in a collective way the reach should be far higher than photographers might be able to achieve using their own resources.

ABOVE: The popular National Portrait Awards were launched in 2017.

LATEST NEWS: Access to the group’s highly

successful baby portrait club has now been made available to members of UK Professional Photographers at Level 2 and above for £150 extra.

ELIGIBILITY: Those looking to join have to provide evidence of being a high quality professional photography business supported by a strong website and Facebook page. A panel of photographers will check through the work and will also want to see evidence of full insurance and GDPR compliance before you can join.

BENEFITS: Those signing up to join can pick

an area and a speciality and will then receive

COSTS: To register for a single genre, for example wedding or portrait photography, the cost would be £49 a year, but to register for a selection of up to four the cost is £99 and for eight it’s £139.

ABOVE: The Pet Portrait Awards were developed as a marketing strategy.

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In November UK Professional Photographers will be accepting bookings for its 2020 twoday workshops, planned for April in Dublin and London, which will address both photography and business using respected British and international photographers. More details of these events will be released shortly as the UKPP looks to grow and attract new members across the country.

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This article first appeared in issue 165. For back issues please visit professionalphoto.online

PERSONAL PROJECTS

BUSINESS

Make it

Personal

If you want to stay fresh and inspired as a photographer and, for good measure, create material that could land you jobs you really want then personal projects are a must.

WORDS TERRY HOPE / IMAGES TOMMY REYNOLDS

W

HEN YOU’RE SELF-EMPLOYED you become acutely aware of the value of your time and the focus, by necessity, has to be towards taking on jobs that will bring in income and keep you afloat. However, although you need a commercial brain for sure, in the drive to find paid work there is the danger of becoming so focused on the bottom line that the enjoyment is drained out of the process and your portfolio becomes filled with nothing that says anything about you as a creative individual.

Kent-based travel and portrait photographer Tommy Reynolds faced this dilemma a couple of years back and had, temporarily, become so disillusioned with the whole process of shooting solely for money that he was seriously considering a change of career. “I was two years into being a

freelancer and all I was doing was work that simply paid the bills,” he says. “I was mainly photographing corporate head shots and random promos of swimming pools and gymnasiums. Nothing exciting really, and I was in danger of losing my enthusiasm.

“That was the point where I realised that I needed to start doing the odd photo shoot for me for a change, just like I had in the days before turning professional, to maintain my love for photography, to stop me quitting and, more importantly, to feel creatively fulfilled. I decided I would take on one personal project a month, and these would be concepts and ideas I would shoot without the pressure on to do a good job. It would be my goals, my vision, my choice of model, my everything really.

It turned out to be the immediate and very much needed breath of fresh air I needed and that was />

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ABOVE: This was taken on the project Tommy undertook to Ethiopia, and this shot was taken in the Homer Tribe village.

OPPOSITE PAGE: A line up of portraits taken

by Tommy while on the numerous personal projects that have taken him around the world.

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PERSONAL PROJECTS

something I hadn’t felt since turning professional.”

The beauty of a personal project is the freedom it offers: you’re on your own, free to experiment and to make mistakes with no client involved who has to approve everything. For example, you could try out a fresh lighting technique that you would never attempt on a commercial job in case it didn’t work out and you ended up looking unprofessional.

If it’s just for yourself and it turns out well then it’s a bonus and another technique up your sleeve, while if it bombs then you simply press on and try something different next time.

“I’ve been taking this approach for three years now,” says Tommy, “and throughout that time I’ve sometimes taken on small projects but I’ve also mixed in some much larger shoots as well. It doesn’t just teach you more about your craft but about yourself as an artist and a person as well.”

Heading Overseas

Tommy hasn’t restricted himself to home-based projects and he’s pushed himself by heading to countries that fascinated him in order to become inspired by different cultures. He undertook three separate trips to Sri Lanka, India and Vietnam, each one undertaken on a shoestring and with the minimum of gear. Each time he came back with a series of images that he was proud of and with some more experience tucked under his belt, and not only were these projects personally fulfilling but they also gave him work for his portfolio that 58 / PROFESSIONAL ANNIVERSARY EDITION 56 PROFESSIONALPHOTO PHOTOFREE ISSUE 165

had the potential to inspire others to work with him.

“I had hinted on my social media that my next personal project travel trip would be Ethiopia,” recalls Tommy, “and shortly after I got a message from Olympus asking me to come in for a chat. They said they loved the travel work they’d seen on my website and were looking at potentially sponsoring my next expedition. The fact is that had they not been able to look at material I’d shot on previous expeditions they would never have been interested. No one is going to hire you to shoot the thing you love if you’ve never put the effort in to get a portfolio of that work first.

“During the pitch they wanted to see a detailed itinerary, which I produced by working closely with STA Travel, whom I use to organise all of my trips.

They’re brilliant at sourcing a guide and planning a private tour that enables me to see and do exactly what I want and to spend as much time as I need in each location. I told Olympus I would provide 20-30 high quality images and an upbeat, exciting behindthe-scenes video of the trip.

“These were the agreed deliverables, which is what I deliver myself on every trip anyway so I wasn’t being asked to do anything extra apart from using a different camera system, which I loved in any case.

When they agreed to support me and to pay for the trip I genuinely felt like I’d won the lottery!

“I travelled with the Olympus OM-D E-M1 Mark II as my main camera and used the OM-D E-M10 Mark III and the Tough TG Tracker compact for filming, and the video was an important part of the Olympus deal

ABOVE: Shot while on an expedition to Vietnam, Tommy carefully plans his trips and makes sure that he comes back with plenty of material for himself and his sponsors.

“No one is going to hire you to shoot the thing you love if you’ve never put the effort in to get a portfolio of that work first.”

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PERSONAL PROJECTS because not only did it allow the creative process to be shared while providing extra online material but it’s also much more inclusive and gives the supporting brand more valuable exposure. For me the BTS video is just as important as the images these days and, as a film graduate, I love shooting this content and feel every photographer should embrace video to promote their own business.”

Sponsored Projects

With a certain amount of pre-planning and enough thought given to the package that’s being offered sponsorship, such as that provided by Olympus for the Ethiopia expedition, is possible and this, in turn, helps with the finances. Tommy carefully prepares his approach to selected partners and makes sure that he’s giving something back so that it’s not a one-way deal that offers nothing to the sponsor.

“Once I’ve got an idea I would love to explore I’ll actively seek sponsorship,” says Tommy. “For example, I might approach a camera brand, a backdrop company, a lighting brand, a location provider and so on, all non-competing and companies that might benefit from the coverage I can provide. I’ll only approach brands that I genuinely have an interest in and would use in any case. It always helps to promise a BTS video since this is such great publicity for the brands concerned and, If I’m successful, then it’s great and it helps me to keep my costs down.

“However, if I can’t manage to get any support then I’ll do the project anyway. The way I see it is that if I’m

deterred from taking on a personal project because no-one has decided to come on board to sponsor the idea then clearly that would mean I was more focused on monetary gain than the project itself and that’s the wrong way to approach this kind of thing. I accept that not every idea I’m going to come up will attract sponsorship and to be honest I don’t care it doesn’t.

If a brand wants to be involved, then it’s a bonus and nothing more than that.”

And there is a positive aspect to personal projects aside from the re-charging of the batteries that it clearly enables. As mentioned already, the material that ultimately gets shared can lead to commissions for personal work and, along with the Olympus sponsorship, Tommy is also now regularly sponsored

by Pixapro lighting while Panasonic saw a video he’d produced about a ballet dancer and wanted him to work on a similar concept for their cameras.

“Personal projects are definitely something that I’ll continue to do throughout my career and it’s something that all professionals should be doing regularly,” says Tommy. “The one project a month approach has worked well for me and if others take that philosophy on board I guarantee they will feel so much better about their work, career and themselves.

The fact is that when I’m happy, my business is happy.

After all, how you make your money is always more important than how much you make.” PP More information: / https://tommyreynolds.co.uk/

BUSINESS

ABOVE: This is a wheat farmer that Tommy photographed while undertaking a project in Varanasi, India.

BELOW: One of the first shots that Tommy produced while out in Ethiopia working with the Olympus O-MD E-M1 Mark II and it remains very much one of his personal favourites.

Tommy Reynolds Personal Projects P OIympus Ethiopia Project: https://www.youtube.com/watch?v=lagfAXdLw9c&t=3s P Self Portrait Project: https://www.youtube.com/watch?v=4tTGn-AIMoI P India Travel Video: https://youtu.be/ZQ4t7UrSUHY P Vietnam Travel Video: https://youtu.be/ClDsMs9jnhE P Share Your Creative Process (Panasonic Video): https://youtu.be/hMrp3SfwzaM P A Portrait of Holly (Growing Up Deaf): https://youtu.be/95Dpb-JaybM P Short Documentary about WW2 Veteran, Alf Hunt: https://youtu.be/SBxnoGcxaXQ

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FREE ANNIVERSARY EDITION PROFESSIONALPHOTO PHOTO \ 57 59 ISSUE 165 PROFESSIONAL

This article first appeared in issue 169. Please note some details and pricing may have changed. Please check with retailers for current pricing and offers.

For back issues please visit professionalphoto.online

Recent launches have proved that there’s still a vibrant market for the DSLR and Nikon is demonstrating its faith in traditional mirrored technology by introducing the pro-minded D780.

WORDS AND PICTURES TERRY HOPE

RIGHT: Deep inside an ice cave it was possible to achieve a low angle using the flip screen LCD in combination with Live View.

TESTED

The Nikon D780 T

HERE HAS BEEN A HUGE amount of excitement about mirrorless technology over the past few years and so much serious r&d going in that particular direction during that time that it’s encouraged some commentators to get ahead of themselves a little and to declare that the DSLR’s time is up and that we might have witnessed our very last high profile launch in the hallowed professional sector. And then of course both Canon and Nikon kicked off the New Year with big announcements that go to prove just how wrong you can be and there is without a doubt still definitely considerable life left in this sector yet.

And why shouldn’t there be? While perhaps not quite so stylish and just so downright compact and sexy as their

mirrorless siblings, DSLRs aren’t ready for the scrapheap by a long way yet, and most pros I’ve spoken to are still happy with these cameras albeit with a mirrorless model or two in the kit bag to work with alongside.

Without a doubt there is a sea change taking place, but it’s happening at a civilised pace and not in an almighty rush.

What is exciting is that the latest generation of DSLRs is now benefitting from the technology that’s spilling down from the mirrorless quarter, which means that we’re seeing big improvements in lots of key areas and cameras that, while they look traditional, actually have some very cutting edge features under the bonnet.

Take the D780, the latest arrival from Nikon and the successor to the highly venerated D750, to date the company’s

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most popular FX camera. Full frame, packed with a mouth-watering feature set and still at a £2199 price point that’s relatively affordable this is a camera that’s going to be of serious interest to the professional or the professionally-minded.

However, while it might look and even sound from a spec point of view a little like the model it’s replacing there are actually a lot of advancements that might not be immediately apparent that make this a significant upgrade.

However, there’s also an omission: the D780 has lost the built-in flash the D750 featured, so you can’t now add in a little fillin light if it’s required. Nikon suggests this was done to improve the weather-sealing qualities of the camera and it’s also had an impact in terms of improved battery life,

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TESTED

which is now up from up to 2260 shots from 1230.That’s putting a positive spin on things but no doubt this change will not be welcomed in all quarters.

You might also feel a tinge of disappointment that the camera still features a 24MP sensor and a 51-point AF system, just as the D750 - launched a full five years ago now - did, rather than, say, one of those super powerful hi-res sensors that we’ve seen in the Panasonic S1R or the Sony a7R Mark IV. However, it’s not all about numbers, and the sensor the D780 now has at its heart is rumoured to be the same one that can be found in the Z6, which equates to a significant step-up.

LEFT: The Nikon D780 is a mid range pro-spec DSLR that has on board many of the cutting edge features of its mirrorless siblings.

It’s now a backside illuminated (BSI) design, which doesn’t in reality actually make a massive amount of difference but it does mean that the light-sensitive regions of each pixel are nearer to the front of

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the sensor, which can improve the light collection at the corners. More interesting perhaps is the fact that the sensor now also features a dual gain design. This means that there are two readout modes, one with the maximum possible dynamic range and the other with more gain. The upshot of this is that you end up with a less noise at the higher ISO speeds where dynamic range is less of an issue. The sensor is coupled with Nikon’s latest-generation EXPEED 6 image processor, which replaces the EXPEED 4 found in the D750.

Sensors are an area where mirrorless

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NIKON D780

ABOVE: Stunning Icelandic scenery, and the D780 features excellent weather sealing to protect it from the elements.

models have made big improvements in recent years and it’s good to see a modern DSLR reaping the benefit. The influence of the updated sensor can be felt in other areas as well, such as in the 12 fps shooting speed that the D780 is capable of in Silent Live View – or 7 fps in AF/AE - and the fact that it’s now possible to shoot video at up to 30p from the full 6048-pixel width of its chip. All good steps ups from the D750.

Meanwhile, the maximum shutter speed is up a stop to 1/8000sec from the D750’s 1/4000sec, giving photographers the flexibility to sync with Nikon Speedlights, while in the other direction you can set a shutter speed as low as 1/900sec (15 minutes) if you’re after light trails or night

shots. Or the Aureole Borealis perhaps, which is one of the subjects I’m hoping to capture with the camera while undertaking this review on a landscape-orientated expedition Nikon arranged around the spectacular and wild Icelandic scenery.

Ultra-Fast AF

Another benefit to come from the direction of the mirrorless Z6 is the fast, dedicated Hybrid-AF system for Live View shooting, while the 51-point Phase-Detection AF system for viewfinder shooting is equally impressive. It’s possible to lock onto expressions with Eye-Detection AF and to take advantage of the new camera’s Low-Light AF facility, which enables reliable

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subject acquisition all the way down to -6 EV, so great for shooting in low light.

Other benefits over the D750 include the addition of a focus stacking facility similar to the D850, and it’s possible to combine up to 300 individual frames to create a greater depth of field. However, this can’t be done in-camera and you will need to work with third party software in post to achieve the effect. The camera’s tilting 3.2in LED is now touchscreen and with a resolution of 2359K dots up from 1229K on the D750 and there’s in-camera USB charging, which can be useful. There’s also an increase in the high end ISO speed of 12,800 up to 51,200, which can be further pushed up to 204,800, while you can also now venture down to ISO 50.

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NIKON D780

for most photographers – and video is recorded in MOV format with H.264/MPEG4 compression and Linear PCM Audio.

Meanwhile for high end shooting and additional video workflow support the D780 can capture 10-bit video with N-Log or HDR (HLD High Log Gamma) video support out via the HDMI connection.

Other high end video features include focus peaking, highlight display (stripes) and time code support. Also on the video front, though slightly at a tangent, it’s also now possible to create 4K timelapse movies in-camera using a batch of still images, which is a useful feature.

TESTED

BELOW: The top panel of the D780 is clean and easy to work your way around and will be familiar to any Nikon DSLR user.

The camera in use

In the hands the D780 doesn’t look or feel significantly different to the model it’s replacing, which is actually a good thing from the point of view of continuity. It means that if you’re trading up there won’t be a significant learning curve since the smooth contouring and the deep handgrip

ABOVE: The D780’s 3.2in LCD Monitor can be tilted, as it could be with the D750, but it now features a touchscreen to enable extra control.

and the general button and control layout are all pretty much in the same place, apart from the addition of a dedicated ISO button directly behind the shutter release, much in the style of the D850. There’s also a slight change on the backplate, with the Live View (still/video) toggle moved up to the rear of the viewfinder and the AE-L/AF-L button shifting downwards near the top corner of the rear LCD. However, things that have traditionally been appreciated, such as the excellent weather sealing and build quality, comprising a magnesium alloy chassis, metal lens mount and a carbon fibre-reinforced front panel, are all still there and no compromises have been made. So it’s essentially the

Video Capability

No camera, whether it be a DSLR or a mirrorless model, can get by these days without decent video shooting capability built in and the D780 is no exception, inheriting many of its vastly improved filmmaking features from the Z6 once again.

The new camera uses its 6K image sensor resolution to produce ultra-high-resolution 4K/UHD footage at 30p/25p/24p with zero crop factor. Additionally it can capture Full HD up to 120 fps for excellent slow motion footage. Shooting time, however, is not unlimited , with sustained video recording capped at 20 minutes for the highest quality footage and 29 minutes 59 seconds for normal quality – probably not a huge deal

ABOVE: The Jokulsarlon Diamond Beach, featuring black sand littered with ice fragments, was a test for metering.

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FREE ANNIVERSARY EDITION PROFESSIONALPHOTO PHOTO \ 63 ISSUE 169 PROFESSIONAL 57

TESTED

NIKON D780

ABOVE: The Northern Lights when they did finally appear were relatively weak, but the camera still captured them at an ISO speed of 2500.

same but different to the D750, but with Nikon hoping that the improvements will encourage existing users to trade up and new users to come on board.

The D780 feels very solid and well made, is highly responsive and is great in the hands, with the grip on the right hand side feeling natural and adding to the stability. It might be a different matter if you happen to be left handed, but then again that’s the way of pretty much all DSLR models.

In use it didn’t feel a whole lot different to the D750, which is intended as a compliment since this has been an extremely successful camera and the art of a successful upgrade is to make things better without changing things so much that you risk alienating the fan base. Many of the changes will not be immediately obvious – the extended ISO range and the higher maximum shutter speed for example, though there will doubtless be times when these added features could make a big difference to the way you work.

What you will notice is a big improvement in AF speed, particularly in low light situations, thanks to the upgraded

RIGHT: Unlike the Z6, the D780 features two memory card slots and accepts the SD format.

sensor that’s on board. When shooting in Live View the camera’s 273-point Hybrid-AF system covers approximately 90 % of the frame horizontally and 90 % vertically, while the tilting monitor now offers touch shutter release and AF. Other improvements that have come across from the Z6 have

ABOVE: The on-board Menu system on the D780 is clear, easy to understand and even non Nikon regulars should fine it easy to navigate.

64 / PROFESSIONAL ANNIVERSARY EDITION 58 PROFESSIONALPHOTO PHOTOFREE ISSUE 169

resulted in vastly improved video capability and this is probably Nikon’s most serious DSLR for video yet.

While touring round Iceland for a couple of days the camera handled everything I threw at it with aplomb. It was easy to operate, responsive and delivered excellent results in a variety of circumstances, including high contrast situations, low light, with excellent noise control, and tricky AF challenges. It even helped me to grab that aforementioned ‘must have’ shot of an admittedly relatively weak Aurora one evening, low light performance at ISO 2500 being outstanding in this situation. PP

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NIKON D780

SPECIFICATIONS

Nikon D780 PRICE: £2199 body only, £2619 with AF-S 24-120mm f/4G ED VR SENSOR: FX CMOS 25MP STORAGE MEDIA: Dual slots, SD, SDHC (UHS-II compliant), SDXC (UHS-II Compliant).

The card in Slot 2 can be used for overflow or backup storage or for separate storage of NEF (RAW) and JPEG images and pictures can be copied between cards.

SHUTTER SPEEDS: 1/8000sec to 30 secs ISO SENSITIVITY: 100 to 51,200 and can be expanded to ISO 50-204,800 AUTOFOCUS: Viewfinder photography: TTL phase detection performed using Advanced Multi-CAM 3500 II autofocus sensor module with support for 51 focus points. Live view: Hybrid phase-detection/contrast-detect AF performed by image sensor.

■VERDICT

This is a very capable mid-range DSLR that will prove to be a reliable partner for the professional photographer shooting everything from weddings through to commercial jobs, while its improved video capabilities make this much more of a hybrid proposition than the D750: that’s the difference that five years has made, and this is what’s expected of a workhorse higher end camera these days.

However, I also took along with me the mirrorless Z6, the camera that shares so much in common with the D780 and it was a good chance to compare the feel and scale of the two models. The Z6 is considerably smaller and yet still offers most of the feature set of the D780, including a full frame sensor. The main

TESTED

Z6’s brand new price, while used supplies will slowly become available.

What it boils down to is that Nikon is testing the water to get a feel for the mood of the camera buying public, which is exactly what a responsible company should be doing. DSLR sales still massively outstrip mirrorless sales at the moment but there is a clear swing towards the latter going on. By putting a state-ofthe-art DSLR model out there Nikon has given those who prefer to work with this system an opportunity to declare their allegiance through their buying decisions.

Quite simply, if DSLR sales hold up Nikon will continue to develop and supply them, but if sales are migrating rapidly towards mirrorless at any stage down the line then

VIDEO SPECIFICATIONS: 4K (3,840 × 2,160) at 23.976, 25 or 29.97 fps/1,920 × 1,080 at 119.88, 100, 59.94, 50, 29.97, 25 or 23.976 fps/Slow-motion: 1,920 × 1,080 at 23.976 (1/5), 25p (1/4) or 29.97p (1/4).

FLASH SYNCH SPEED: 1/200sec BUILT IN FLASH: No LCD MONITOR: Tilting 3.2in diagonal, 2,359,000 dots, 3:4 aspect ratio.

WI-FI: Built In

ABOVE: The Nikon D780, left, alongside its more compact mirrorless sibling, the Z6.

Pros now have a clear choice to make.

DIMENSIONS: Approx 143.5x115.5x76mm WEIGHT: Approx 840g

“The D780 delivered excellent results in a variety of circumstances, including high contrast situations, low light, with excellent noise control and tricky AF challenges.

It even helped me grab that elusive shot of an admittedly weak Aurora.”

More information: / www.nikon.co.uk Many thanks to G-Technology for the loan of a G-DRIVE mobile SSD card reader and SanDisk 128MB Extreme Pro SDXC UHS-II memory cards.

differences - aside from not having a physical mirror to move up and down – is the fact that the Z6 doesn’t feature dual SD card slots, offering a single Xqd slot instead, while it also has a different lens mount, meaning that you can only use your existing FX lenses via an adaptor, although this is relatively easy to do.

Both cameras deliver great results and I wouldn’t put one above the other performance-wise, though being the older of the two the Z6 has been reduced in price over time – it’s currently available for £1600 at Wex Photo Video – and there are some decent second hand Z6 buys out there at the moment, such as a ‘like new’ model from MPB with a six month warranty and a price tag of £1040.

That’s a lot less than a brand new D780, but then again it’s not a DSLR and there’s undoubtedly still an audience that prefers mirrored models. There will also be street price discounts on the D780 over time that will position it much closer to the

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it will slowly make a graceful withdrawal.

In the meantime, if you’re working with a DSLR and want to stick with that format for now then you’ll be very happy with what the D780 has to offer. This is a very well equipped model that can cover a variety of genres, and it will deliver everything the D750 did while bringing performance bang up to date. Live View shooting via the dedicated Hybrid AF system was simple and highly effective and this is a great way to work, while the Phase Detection AF system for viewfinder shooting was similarly reliable.

So, in short, this is a big enough step up from the D750 to warrant an upgrade but you could find that your true choice might boil down to whether you go mirrorless with the Z6 or stick with a DSLR model and go with the D780.

Whichever way you jump you’ll have a very capable piece of kit in your hands but it might just help to decide how long Nikon invests in DSLR technology.

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FIRST LOOK

In true Olympus tradition the new OM-D E-M1 Mark III may be small and perfectly formed, but its compact exterior belies a formidable pro-orientated model that celebrates its MFT heritage.

The

Olympus

OM-D E-M1 Mark III N A PROFESSIONAL WORLD that’s so focused on the obvious appeal of full frame models it would have been very easy for Olympus to make the call that it needed to throw its hat into the ring with the big boys and to go down that route itself. However, the brave decision was made to resist that urge and to concentrate instead on offering an alternative, namely a highly specified smaller format system that would compete in terms of being lightweight, affordable and far easier to carry around.

The new OM-D E-M1 MARK III is designed to build on the reputation the E-M1X has established, inheriting pretty much all of its much admired high-end feature set while offering a form factor that’s much smaller and more in line with its Mark II predecessor. That’s quite a feat and there’s no doubt that Olympus is aiming high with this model. It’s unashamedly looking to pitch it at the professional market and, far from being coy about the MFT sensor at its heart, it’s looking to make this a virtue.

So much hinges, of course, on the quality of the image file that’s ultimately produced and it’s here that Olympus needs to win hearts and minds, since the MFT sensor is obviously physically much smaller than full frame. But having had the chance to head out shooting for the afternoon around Kew

Picture: Marcus Clackson

I

WORDS TERRY HOPE

ABOVE: Editor Terry Hope with the new E-M1 Mark III.

Gardens with a pre-production version of the camera, accompanied by professional commercial and portrait photographer Marcus Clackson, I can vouch for the fact that this is a camera with serious intent that has the ability to do a professional job.

The Highlights

We’ve mentioned already the compact nature of the OM-D system and the E-M1 Mark III is considerably less bulky than its E-M1X bigger brother since there is no integrated grip. It’s just as well weather sealed, however, something of an Olympus trait, ensuring that it’s a great all-weather model and unlikely to let you down should the heavens open: good news for pros.

Image stabilisation is formidable and I

66 / PROFESSIONAL ANNIVERSARY EDITION 60 PROFESSIONALPHOTO PHOTOFREE ISSUE 169

was able to get pin sharp results at speeds that once would have been unthinkable.

Olympus claims that if the camera’s in-body 5-axis image stabilisation is paired with supported lenses, some 7.5 shutter speed steps of compensation can be achieved, which would make it the world’s best.

Suddenly this opens the door to low light hand held situations and crazy slow shutter speeds when working with longer lenses, and that’s a great facility to have on board.

The camera features a new TruePic IX image processing engine and a 20.4MP Live MOS sensor that’s said to ensure minimal noise even at high sensitivity settings.

For users in need of higher resolutions the new 50MP Handheld High Res Shot feature is said to make it possible to capture approximately 50MP high-resolution images without the need to work with a tripod, going some way at least to addressing any fears about sensor size. Opt for a set of sticks and work with the Tripod High Res Shot function and you’ll be able to record ultra-high-resolution - approx. 80MP equivalent - Raw and JPEG images.

Live ND, which was very popular on the OM-D E-M1X, is also on board, which is great news for those shooting time exposures of waterfalls or working with video. Users can select the effect level from ND2 (one step) to ND32 (5 steps) and even check the slow shutter effects in the viewfinder before capturing.

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NEWS UPDATE

GEAR

ABOVE AND RIGHT: With Marcus’ help I tried out the E-M1 Mark III’s Focus Stack facility around the Kew Gardens Summer Houses and the camera has the ability to blend a number of shots together in-camera to achieve really impressive depth of field.

Things I couldn’t check in the limited time I had with the model were a lithiumion battery BLH-1 that can be fully charged in as little as two hours when installed in the camera and attached to a power source via USB. The E-M1 Mark III is also compatible with the USB PD (USB Power Delivery), so can be run from an external power bank, potentially useful for astrophotography or photography in cold environments when a battery might struggle.

Not new but equally impressive is Olympus’ advanced SSWF (Super Sonic Wave Filter) technology, which vibrates the image sensor filter with an acceleration equivalent to several thousand G some 30,000 times per second to shake off dust and dirt, while the camera inherits the sensor coating introduced with the OM-D E-M1X, which ensures that dirt can’t stick to the surface, reducing spots in images to 1/10th of that in conventional models.

Meanwhile the high-durability shutter unit in the E-M1 Mark III now clears 400,000 operation tests, twice that of its predecessor, so again that’s really good news for hard working professionals.

Also impressive is the AF performance, with the E-M1 Mark III equipped with a 121-point all cross-type On-chip Phase Detection AF sensor. Paired with an advanced AF algorithm, this feature is said to be able to continually focus on fastmoving subjects with a high degree of precision, so perfect for sports and wildlife.

I also really liked the new multi selector control - as introduced with the E-M1X -

which makes it possible to quickly shift AF areas with your thumb while looking through the viewfinder. Because users can move the AF areas with the multi selector during sequential shooting, it’s possible to accurately focus even on subjects that move erratically, as you might find in wildlife photography. The AF target loop setting is also added, which,

based on user selection, either stops the AF target at the edge of the screen or moves it to the opposite edge.

Another major benefit is the Pro Capture mode, which starts shooting the moment the shutter release button is pressed down halfway, with a buffer that can be set to capture up to 35 frames in Raw/full resolution. Again, not new but those who have used this facility rave about it. PP / www.olympus.co.uk The OM-D E-M1 Mark III is available now in black as body only at an rrp of £1,599.99 and in different kit versions with the M.Zuiko Digital ED 12-40 f/2.8 PRO lens at an rrp of £2,199.99 or with the M.Zuiko Digital ED 12-100 f/4.0 IS PRO lens at an rrp of £2,499.99. The predecessor model E-M1 Mark II is being sold in parallel at a new rrp of £1,299.99 (body only) and £1,999.99 for the ED 12-40 f/2.8 PRO lens kit, while the double zoom kit is now £2,999.99.

■VERDICT

This is one of the most pro-focused models ever launched by Olympus and it now offers a clear choice to those who might be looking for a full frame alternative. And this is what this camera is: it’s making no apologies for its MFT heritage, rather it’s proud of its roots and fully capable of holding its own in a professional environment.

With its credentials established there are very good reasons why you might consider this camera seriously and it will be interesting to see if Olympus can break down the barriers that have prevented it from achieving the credibility its products deserve.

I’ll look forward to getting the E-M1 Mark III in for a full review as soon as possible and to check out such things as its video capabilities in more detail, but in the meantime this is an exciting camera packed with heaps of potential that could well prove to be a turning point for the Olympus brand and its professional aspirations.

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Wheels for Wheels for

Your Kit Your Kit

W W

HILE MANY PRO HILE MANY PROlike the photographers HILE MANYofPRO photographers like the portability a rucksackphotographers likethe themore portability of bag, a rucksackstyle camera portability of a rucksackstyle camera bag, more experienced operator will tell youthe this style style bag, more experienced operator willquickly tell youthe this style of bag gets very oldcamera very when experienced operator willquickly tell you this style of bag carting gets very old very you’re a hefty amount of when gear of bag carting gets old quickly you’re a hefty amount of when gearwant around day very after day.very Photographers you’re carting a hefty amount gear around after shoot day. Photographers want to arriveday at their feeling of fresh and around day after day.

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Professionals often need Professionals often need toProfessionals travel overseas andneed you often to travel overseas and you don’t wantoverseas to be separated to travel and you don’t want to be separated precious kit. don’tfrom wantyour to be separated from your precious kit.

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Tenba Roadie Roller Hybrid 21 Tenba Roadie Roller Hybrid 21 FROM: £255 Roadie Roller Hybrid 21 Tenba FROM: £255 TENBA ENJOYS FROM: £255 A RICH

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However, have the option to you put your in However, have the option put in the holdtoinyou anyyour casegear since option in the holdtoinput anyyour casegear since the hold in any case since

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with shock-absorbing wheels that should with shock-absorbing wheels thatthe should provide a much smoother glide, with shock-absorbing wheels that should provide a much glide, the Roadie Roller 21 smoother also includes shoulder provide a much smoother glide, the Roadieto Roller alsophotographer includes shoulder straps allow21the to carry Roadie Roller alsophotographer includes shoulder straps the to carry the bagto if allow they21need to. straps the photographer to carry the bagtoif allow they need to. the bag if they need to.

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BUYERS’ GUIDE

ROLLER CASES

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Tamrac Speed Roller International FROM £330

TAMRAC’S SPEEDROLLER is a beast of a roller bag and is well suited to everyday professional use. Capable of swallowing two pro bodies and 4-6 extra lenses, the Tamrac meets international flight carryon requirements and can also accommodate laptops up to 15-inches.

With the presence of foam dividers, pro

photographers can re-shape the bag to fit their exact shape and needs and the Tamrac also boasts clear storage compartments for additional accessories.

Smooth in-line skate-style wheels help the Speedroller with manoeuvrability so you can carve through a busy conference hall to your photoshoot location. The Ballistic nylon outer shell is discreet and shouldn’t attract unwanted attention - plus the plastic-armoured outer of the bag will provide an enhanced level of protection, should your roller bag take any unexpected knocks. The Speedroller features premium YKK zips and also comes with a rain cover to add an extra level of protection for your gear from the elements.

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ThinkTankAirport International V.3.0 FROM: £369

THIS IS THE THIRD GENERATION of ThinkTankPhoto’s roller and it should come as no surprise that it boasts a huge range of features. Built around a two-wheel design, the bag benefits from a reinforced telescoping handle, a dedicated padded pocket for your laptop/tablet (up to 15-inch) and the ability for users to maintain and service various parts, like swapping out the wheels, thus extending the life of the bag. The wheels themselves measure 80mm and are sealed with ABEC grade 5 bearings to ensure quiet rolling. The case is capable of

Vanguard Alta Fly 55T Roller Backpack FROM: £249

AS YOU’D EXPECT from a TIPA awardwinning product, the Alta Fly 55T has plenty of features to sway a pro photographer’s buying decision. The roller bag features four wheels instead of the usual two, meaning you can simply push it along like a suitcase, making life very comfortable. Easily meeting airline carry on requirements, the 55T is slightly smaller than some bags included in this guide, but can comfortably take two pro cameras and up to six extra lenses - including a long 300mm optic. Like the Tenba bag, the Vanguard also sports shoulder straps to turn the roller into a backpack and the 55T can also take a 14-inch laptop or tablet, too.

A three-point buckle system adds an additional level of security to the bag and there’s also a tripod-holding system too, which will free up the photographer’s hands to concentrate on pulling along their bag.

The durable exterior of the Alta is water/ scratch resistant, plus the bag provides excellent protection from rain, which should reassure pros who often have to work out in the elements if the job requires.

The Alta Fly 55T also comes with Vanguard’s two-year warranty to offer additional peace of mind.

carrying two pro bodies and around 4-5 extra lenses, including a long telephoto like a 400mm, and it also (as the name suggests) meets carry on requirements so you should never have to check this roller into the hold. What’s more, security-approved zip locks offer extra protection, while each bag comes with a unique serial number so if the bag is lost/stolen, the ThinkTankAirport International V.3.0 should be easier to subsequently recover.

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ROLLER CASES

BUYERS’ GUIDE

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Peli 1510 Protector Case

Lowepro SP 200

ESSENTIALLY, THE PELI 1510 Protector is the Ironman of roller cases and is a great option for professional photographers who work in challenging environments.

Crushproof and waterproof, the Peli is built like a tank and is on the verge of being indestructible. This version include roller wheels, and is carry-on approved. Although the 1510 Protector Case lacks the additional space and features found on other bags in this round up, its reputation as the toughest case on the market more than makes up for it. Additional features include an automatic pressure equalisation valve, which stops moisture from entering the case and

ONE OF LOWEPRO’S SMALLER roller bags, the SP 200 easily meets airline carryon requirements and can hold a pair of DSLRs (one with a 70-200mm lens), along with up to 7-8 extra lenses. Also capable of transporting your laptop/tablet (up to 15-inches), the SP200 weighs just 4.2kg and is built around a fourwheel design - in fact it was Lowepro’s first ever four-wheel roller - and also features a dual-stalked extendable handle.

In the front flap, compartments for accessories are complimented by mesh holders so you can see where your gear is located and the moulded EVA shell exterior adds structure to the bag while protecting your equipment. The zips can be locked for enhanced security should you need it and on the rear photographers will find a document pocket - useful for keeping your passport and boarding pass in.

Straps on the side will hold your tripod in place while foam reinforced handles can be found on both the side, top and rear of the roller bag. While the dividers can be moved around as with other bags in this guide, what’s interesting about the SP 200 is that it also contains a reinforced divider to secure heavier lenses.

£194.99

£279.95

prevents vacuum-lock, meaning that it can be opened easily at any altitude. What’s more, the handle features an easy-release mechanism and the bag rolls on heavy duty wheels. Security-wise, there are stainless-steel, reinforced padlock protectors to defend against cutting and theft and there are options for internal divider systems too.

Extras add to the overall cost: with a foam insert the case is £227.12, a divider set costs £97.72 while a Trepak insert would be £115.16.

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Manfrotto Spin 55 £349.95

THE DESIGNERS OVER AT Manfrotto deserve an extra digestive biscuit with their cup of tea because the Spin 55 is a wonder of innovation. The roller bag doubles up as a regular travel suitcase, which makes perfect sense, saves you money and begs the question; ‘why did nobody do this sooner?’

Sporting a polycarbonate external shell, which not only keeps weight down but also enhances durability and protection for your equipment, the Spin 55 can hold two DSLRs, and 3-4 extra lenses, including a long telephoto such as a fast 70-200mm. Built around a four-wheel design,

the Spin 55 is very capable of transporting heavier payloads and also offers a large front facing pouch for laptops (up to 15-inches) and accessories.

Meeting carry-on requirements for major airlines, the Spin 55 comes with connectors so you can attach your tripod to the exterior and inside the interchangeable dividers can be moved around to suit your particular gear set-up.

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FREE ANNIVERSARY EDITION PROFESSIONALPHOTO PHOTO \\ 65 71 ISSUE 162 PROFESSIONAL

“It’s good to know my old

“Simple collection,

“I wouldn’t have ever known

camera will find its way to a new

payment in days, flawless

that my stuff was worth more

user, thanks to MPB.”

communication.”

than I thought.”

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PHOTO BY AMOGH MANJUNATH

HYBRID SPEC I A L I S SU E

This article first appeared in issue 166. Please note pricing may have changed. Please check with retailer for current pricing and offers. For back issues please visit professionalphoto.online

BlackMagic Pocket Cinema Camera

SECOND HAND

GEAR

AND SECOND H

HEROES

As we celebrate all things hybrid, check out a tiny camera that enables aspiring videographers to step into the world of pro movie quality for less than £500 maybe the deal of the century?

WORDS MATTY GRAHAM

L

ET’S GET THINGS STRAIGHT; modern DSLRs and mirrorless cameras are a great choice when stills photographers want to mix things up and try shooting some video.

But what if you want to take video more seriously while still being on a relatively restricted budget? The answer could well be the Pocket Cinema Camera from BlackMagic. It’s fair to say BlackMagic got the name for this model spot on as it really does fit in your pocket, yet despite the small size, the PCC is packed with high-tech features that will make a real difference in the field for aspiring filmmakers.

Pro features

So what actually is the Pocket Cinema Camera? Well, this is a dedicated video camera in a body whose shape is more reminiscent of a Sony a6300. At the heart of the camera is a Super 16 size sensor that films Full HD footage - highly desirable for vloggers who intend to share their footage online and perhaps don’t require the higher resolution 4K footage that BlackMagic’s other camera models can provide.

The Full HD footage comes in either lossless CinemaDNG RAW or Apple ProRes 422 (HQ) format, allowing videographers the tolerance they require to properly grade the footage and to make every pixel look its best. Thanks to these formats and the sensor, the Pocket Cinema Camera offers a wide dynamic range of 13-stops, allowing more shadows and highlights to be captured - particularly useful for high contrast lighting scenes, such as filming at sunrise and sunset for example.

The PCC features a Micro Four-Thirds (MFT) mount, which is great because that means there is a huge selection of

affordable zoom and prime lenses out there so filmmakers can mix up the focal lengths in their footage. What’s more, these lenses are typically compact and lightweight, so they fit perfectly with the modest dimensions of this model.

However, don’t fall into the trap of thinking that, because it’s small and light, this is a flimsy camera. In fact, the opposite is true and the PCC is built around a rugged alloy body. The small build lets you film great looking video, without bringing attention to yourself in the way that using a bigger body would - perhaps an important consideration for aspiring documentary videographers?

While this model has been superseded by the 4K and the 6K, this has resulted in prices dropping in recent months. In fact the BlackMagic Pocket Cinema Camera we reviewed, which was supplied by MPB (www.mpb.com) came in at £470 – that’s a price of under five hundred quid for a genuine cinema camera!

What to look for

The Pocket Cinema Camera we reviewed was in excellent condition and was priced accordingly, although it should be noted

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MPB also offers models in slightly less pristine condition but still fully guaranteed, for below £400! Like any camera though, some basic checks should be made to ensure you’re making a wise investment.

In the case of the BlackMagic Pocket Cinema Camera these revolve around wear and tear and how heavily it’s been used. As it’s a small camera, users may be tempted to stick it in their pocket or throw it in a camera bag and this can lead to scuffs and scratches so take care to review images of the actual camera you’re thinking of buying and make sure these aren’t present.

One particular area to review is the LCD as this is where you’ll not only review footage but it also acts as the menu screen too. An additional area to address with caution is the lens mount; make sure there is no damage to the contacts and they all work as they should. Prospective buyers should also look out for bundles that include extra batteries as you’ll get through juice quickly if shooting extended scenes. PP More information: / mpb.com

Blackmagic Pocket Cinema Camera Who is this camera for: Aspiring and established videographers Expect to pay: From around £450 Standout features: Tiny size, useful MFT mount, pro video quality, metal body design Alternative buys: Pocket Cinema Camera 4K

FREE ANNIVERSARY EDITION PROFESSIONALPHOTO PHOTO \ 73 ISSUE 166 PROFESSIONAL

This article first appeared in issue 168. For back issues please visit professionalphoto.online

COMMENT /

Things I wish Iʼd known…

John Baikie

John Baikie reflects on the importance of being yourself and sticking by your photographic convictions when others might be casting doubt on the direction your inner self is taking you. © JOHN BAIKIE

I

HAVE SAT THINKING about this subject for a while, not because I couldn’t think of anything to say but because I had thought of too many!

I started as a full time photographer almost 16 years ago and I feel I could write a book on the things I wish I had done differently. That said, I think sometimes the things we consider to be mistakes were actually just lessons and, without these, we would not have developed in the way we have.

One of the biggest pieces of advice I would give to my ‘just starting out’ self, would be to care less about what others say. I used to hang on the every word of people I considered to be experts, only to realise years later that I should follow my own inner voice. I was continuously entering competitions, awards and qualifications and having a mentor telling me what to do. These things have many positives, but with that comes negativity as well.

I don’t mind a little constructive criticism if it comes from a good place, but I feel that in the early days, I was doing things differently. I had my own style and vision and wanted to push boundaries.

Not to shock people exactly, but to encourage folk to look at photography in a different way. To be noticed I suppose, and for my work to stand out.

This ‘freestyle’ thing was basically knocked out of me when I should have taken my own direction.

There’s a very traditional approach to judging on the whole in this country and I was wounded by having my work shot down regularly. One of my favourite images, a wedding shot that was very different - featured here - was getting noticed, and drove many clients to me, and it actually still does, some eleven years on. I remember watching it being critiqued and hearing a couple of overseas judges rave about it for being different and original, but

EDITORIAL Publisher and Editor: Terry Hope terry@professionalphoto.online terry@professionalphoto.online Contributing Editor: Matty Graham matty@professionalphoto.online matty@professionalphoto.online Contributing Editor: Richard Bradbury richard@professionalphoto.online richard@professionalphoto.online

ADVERTISING Sales: Sarah Hazle sales@professionalphoto.online sales@professionalphoto.online

John Baikie has been a professional photographer for nearly two decades and still confesses to loving weddings. He describes his approach as '80 per cent reportage and 20% art,' and he's continually on the look out for moments in time that will define the occasion.

As well as covering home grown weddings he travels regularly and has photographed weddings as far afield as Cyprus, Poland, France, Italy and even Thailand! He also covers weddings of any size, from lavish events with 300 guests down to an intimate ceremony with just the bride and groom.

it was torn apart by UK judges for the very same reasons. It was different, and they didn’t like it.

I was very much affected by that and went back to shooting more traditionally. My words to myself would be ‘not everyone will understand what you are trying to do, but follow your inner voice.’ By backing your instinct you stand out from the crowd.

The other thing I would tell myself is to make the most of things when times are good. Don’t get hung up on business and making money. Enjoy life more, take holidays, travel and go for experiences over bank balance, as life goes by so quickly. Here I am now, a cynical old(ish) guy, wondering if I am fit to do many of the things I have on my bucket list. I think it might be a mid-life crisis, but I really do wish I had experienced more of life in the last decade or so, instead of constantly worrying about how many weddings I had in my diary for next year! / www.johnbaikiephotography.com / www.captiv8.uk.com

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74 // PROFESSIONAL ANNIVERSARY EDITION 66 PROFESSIONALPHOTO PHOTOFREE ISSUE 168

Professional Photo is published 12 times a year by So Smart Media, West Cottage, Brasted Place, Brasted, Kent TN16 1JE. No part of this magazine can be used without prior written permission of So Smart Media Ltd. Professional Photo is a registered trademark of So Smart Media Ltd. The advertisements published in Professional Photo that have been written, designed or produced by employees of So Smart Media Ltd 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 So Smart Media 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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Since 1991, the TIPA World Awards logos have shown which are the best photographic, video and imaging products each year.

For over 25 years, the TIPA World Awards have been judged on quality, performance and value, making them the independent photo and imaging awards you can trust. In cooperation with the Camera Journal Press Club of Japan. www.tipa.com

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