A few weeks ago I bought some more Elinchrom Ranger Quadra kit and after a short while lugging my gear around in multiple bags and cases I decided that it was time to get myself one big case to take most or all of my Quadra gear. My rationale was that I am pulling one bag on wheels and carrying two or three others so why not make it one on wheels with the lighting and one smaller bag with cameras and lenses riding on top of it or over my shoulder as required? There’s quite a bit of choice on the market but all of my experience with Think Tank bags told me to start my search there. They make lots of rolling bags but only three specifically designed to lug large amounts of kit. My benchmark was that I had to be able to get at least two of my Manfrotto 156 stands plus a couple of Manfrotto 001s in there along with two or three packs, three or four heads, spare batteries, cables, light modifiers and plenty of accessories.
I had previously seen a colleagues Location Manager 40 case and so I wanted to check out the Logistics Manager 30 because on paper it appeared to be just about perfect. The internal dimensions were listed at 70cm length. (more…)
When I get a new piece of kit worthy of mention, I usually write a first hand account of how it is working out and go into details based on using it on a few jobs. I bought an Elinchrom Quadra ELB HS kit a couple of weeks ago and I thought that it was about time I gave some first impressions on this blog. Sadly, I haven’t used it for anything particularly interesting and I certainly haven’t stretched it beyond what I would normally do with my old Quadras (some executive portraits and a quick location shoot) but I can already see a lot of small but amazingly significant changes from the original system.
Those of you who read this blog regularly will know that I was very impressed with the Quadra when I wrote about it in my “32 Months On” and was further impressed when the Lithium Ion batteries came out. The differences between the ELB and the Quadra for most jobs aren’t huge but everything about the new kit tells me that the designers have listened and that the manufacturers have allowed their engineers to implement some great changes. For me, the positive changes with the pack are:
Far better display
Vastly improved menu system
Ability to recondition flattened lithium batteries
Better cable port covers
All of my old Quadra bits and cables are compatible with the new pack
I have the new High Synch head too which brings one key improvement which is the ability to synch with my cameras at shutter speeds right up to 1/8000th of a second using the EL Skyport Plus HS Transmitter and I’ll talk about these a bit further down the page.
1. I am a fan of almost everything Apple for the work that I do and the way that I do it.
2. I rely on my two and a bit year old iPhone 5S for quite a lot of things when I’m out on assignments.
The speed of the 4G network and the brilliant array of apps available for all smartphones has changed the way that I do some of my jobs quite a lot in the last few years. Recently I wrote about getting pictures away quickly and I have also written about the workflow that I use with some of the phone apps and you can see from a current grab of one of the app pages on my phone I have quite a few ways to do similar things.
I’d like to talk in this blog about some of many of the ‘un-sung heroes’ of my mobile life – at least one of which is a very new and a very, very welcome addition to the set up.
The backbone of my mobile image acquisition and transmission system is formed of the Eye-Fi and Photogene apps which have been covered at length before but you can also see plenty of other work related apps on this single screen. (more…)
Most photographers have personal projects that they spend their spare time working on. Mine is to document one of my favourite places on the world – the area of Bournemouth known as Fisherman’s Walk. It’s a lovely place that is very close to my heart and I often just pop along there (it’s three miles or so from home) with a camera or two over my shoulder and see what is happening.
The light by the sea is almost always interesting. No matter whether we have dull clouds or sparkling sunshine there will be something happening and that is why I keep going back to the beach, cliff tops and gardens that make up the area.
I have titled this piece ‘diminishing returns’ because that’s what happens with most projects: they start slowly and quickly develop with a flurry of great pictures and then it tails off again. That is unless you really work at it. Commercially speaking all projects need to have a finishing point. They need to have a date where you say ‘enough is enough’ and stop working on it. (more…)
Back in 2013 the Bournemouth Arts By The Sea Festival was getting bigger and better and I was asked to come along and shoot some of the events. The climax of day two was to be a spectacular show on the beach next to Bournemouth Pier by Joe Rush and The Mutoid Waste Company who build and drive fantastic vehicles made from scrap. The organisers had penned off a large area of beach, put up a large public address system and once night had fallen the vehicles and their crews came onto the beach.
I had been there earlier in the festival when some of the vehicles had driven through the town and so I knew roughly what to expect. I got there reasonably early and staked out what I thought would be a good position with the sea and the pier in the background. I had two cameras with me – one with a 70-200 f2.8 and the other with a 24-70 f2.8 zoom lens. I had a couple of Canon speed lights and a high-voltage battery pack, plenty of memory cards and then waited for darkness and the start of the show.
Half a dozen vehicles sped onto the sand and I started shooting away without flash. It was pretty dark, despite the arc lights that had been positioned at various points around the perimeter. These vehicles weigh several tons and one or two of them got caught in the soft sand but that made for great pictures because the people who ‘crew’ them are artists and showmen and they gave the most amazing static display whilst waiting to be hauled free.
Technical stuff: Canon EOS5D MkII cameras with Canon EF 70-200 f2.8L IS and 24-70 f2.8L lenses. Top picture 1/100th of a second at f2.8 on 2000 ISO with white balance corrected in Adobe Camera RAW. Bottom picture 1/25th of a second at f3.2 on 2000 ISO.
Getting photographs to the client has always been one of the less glamorous aspects of being a professional photographer. From sticking a pile of prints into an envelope and handing them to a courier to scanning negatives before using clunky slow modems to deliver them right up until today’s relatively painless methods nobody in their right mind would list this part of the process as either satisfying or easy.
The arrival of social media and the realisation amongst better clients that using our work rather than their own smartphone snaps has meant that we have had to speed things up a lot. I’ve always liked Eye-Fi cards but more recently I have been working with clients and with projects where something even more reliable and configurable is required. The worst part of it is that there isn’t actually one simple solution or workflow that will satisfy all of them in all circumstances. For a lot of jobs transferring the pictures from the camera to a smartphone or tablet before captioning and shifting them to the client is quick enough and I’ve written about that workflow before. New software appears all of the time and I am always looking at ways to make things smarter and quicker by introducing some automation and cutting steps out.
You can’t publish a blog for more than a couple of years without repeating yourself somewhat and I have waxed lyrical about the light at dusk more than once before. It is especially useful when you are shooting subjects facing due south.
Through the middle of the day taking pictures looking out to sea at my favourite part of the beach near my home life is tough because you are shooting against the often strong sunshine. When there’s a cloudless sky by five or six o’clock in the afternoon and then through to sunset the angle and direction of the light as well as its colour and quality goes from nice to amazing. The type of activity changes too and the almost deserted beaches become the one place that draws me to go and take pictures because I want to.
I might also have mentioned my obsession with dogs on the beach and I am slowly but surely putting a body of those pictures together. I wanted a wide photograph that could stretch across a double page and have some headlines and copy run over it and I think that this picture from yesterday evening is a real contender.
The project will never be finished but there will come a day when volume one gets published in some form or other.
Techie stuff: Canon EOS5D MkIII with a Canon EF 135mm f2 L lens. 1/160th of a second f13 200 ISO