canon

After the storm
©Neil Turner, November 2014. A pensioner walks along the beach near Bournemouth Pier.

©Neil Turner, November 2014. A pensioner walks along the beach near Bournemouth Pier.

Following on from my post about zoom and prime lenses I was out with just the primes yesterday – walking along one of my favourite bits of beach in wild winds and failing light. I was just out having some photographic time before getting into the car for yet another drive up the M3 for work. This one was shot at 640 ISO at 1/1000th of a second at f4 with an 85mm f1.8 Canon EF lens on my rather lovely little Canon EOS6D – a camera that I am becoming increasingly fond of. When I’m doing personal work like this I tend to set the white balance to daylight and accept whatever colour cast I get and in this case it wasn’t far off of what the naked eye saw.

Zooms Vs Primes
©Neil Turner, October 2014. Shooting my own shadow with a 28mm f1.8 lens.

©Neil Turner, October 2014. Shooting my own shadow with a 28mm f1.8 lens.

Talking and writing about photography on the web seems to have become a whole series of two sided contests. Sometimes it is interesting and a genuine dichotomy (Nikon Vs Canon, Mac Vs PC) where there are absolute direct comparisons to be made and a range of technical and personal preferences to be considered. At other times they are silly (film Vs digital, DSLR Vs mirrorless) where it is comparing bananas with pineapples. Somewhere in the middle of these two extremes sits the Zoom Vs Primes debate. Everyone has their own views and everyone’s work is different.

An amazing 14 years ago (and 14 years into my professional career) I wrote a short piece about choosing lenses and why you might like zooms for some jobs and then have the ability to choose a focal length for others. It wasn’t all that long before then that I’d had to use primes all of the time because zoom lenses weren’t up to the job in terms of quality. For me it all changed in 1995 when I switched to Canon EOS for the first time and the original 70-200 f2.8L and 28-70 f2.8L lenses which, along with the auto focus on the EOS1N, changed everything for me. For ages the only Canon primes I had were the 20mm f2.8 and 300mm f2.8L and the vast majority of my work was shot between 28mm and 200mm.

I’ve spent a lot of my career in press pens and fixed positions where I cannot move and where it made sense to use zooms lenses to compose but weighed against that I’ve also done a lot of work where I have a lot of freedom to move around and can position myself so that I don’t need to use a zoom to fill the frame – I’ve been able to “zoom with my feet”. Here’s what I said in 2000:

There are two ways that you can choose which of your lenses to stick on the camera:

  1. You can say “there’s my subject and here I am, let’s see which focal length on my zoom works best”.  Sometimes at sports matches and political events you have your position and that is that, or…
  2. You could say “I want the effect that my experience tells me a 28mm lens will give me so I’ll select that focal length and move to the right position to make that happen”.

Either of these could be a valid option and, in many cases, the first is decided for you by circumstance. Most news photographers use zoom lenses because it makes sense to have fewer lenses when you are never quite sure what kind of work you will be doing on any given day.

Personally, I use a combination of both approaches. If a position forces me to choose a certain lens then I’m with option 1. Given complete freedom to shoot what I want I’d go with 2. More often than not I’ll go with, say a 24-70mm lens intending to shoot at the 24mm end and get in a position to shoot that way. I will shoot several frames and then start to move around, zoom in and out and shoot a variety of similar images, each with subtle differences. I try to make a point of shooting with just about every focal length available to me on every job. Sometimes I am right about lenses first time but often I’m not. What had seemed like an obvious task for the 28mm ends up being a spectacular 200mm shot and vice-versa but the result is that you often end up with images that are just that bit better.

I nearly always shoot on location so I cannot preplan every detail. Going equipped with a range of lenses is vital. Your choice of lens will depend on so many questions running through your mind. How is this image going to be used? Big, small, upright, horizontal, front page? Double page, back page, website, magazine or newspaper? Is it going to have copy running over it? Will it have more than one usage?

If I cannot answer any or all of those questions, then I’ll shoot every variation I can. Shall I start with a long lens, if it’s a portrait then being further away may relax the subject and I’ll get in with the wide when they are more comfortable. Background, what’s behind them? Can I use a change of lens get rid of a poor background?

Answering self-set questions and making compromises is the key to news photography. Choosing the right lenses helps to reduce the number of technical compromises that you are forced to take, giving you more time to make the creative compromises that you want to make.

So has anything changed in the intervening years to make me come back and have another look at this debate? Yes – several things:

  • The resolving power of the camera chip is now so great that lenses need to be sharp to get the most out of that resolution
  • The amount of pixels crammed onto a chip means that you can “zoom by cropping” in a far more aggressive way that you could ever do before and still end up with a file easily large enough for a wide range of uses
  • Zoom lens quality has improved
  • The choice of super-high quality prime lenses has become far wider
  • The quality of digital images means that how a specific lens renders out of focus parts of the frame has become an issue for a lot of people
  • Photographers are constantly seeking ‘an edge’ and to challenge themselves to see their work differently in an era where we all have much the same gear

This debate has raged and it has ebbed and flowed. I’m not necessarily talking about how the worldwide photographic communities have seen it here, I’m talking about my own psyche and what happens every time I pack a bag to go and shoot some pictures. I love the discipline and the way that having three or four prime lenses in a bag makes me think but I have the it when I have primes and cannot move around as much as I’d like to. Short of taking three zooms and four primes on every job (I don’t have an assistant and my fifty year old spine would buckle under the weight) it is always going to be a compromise. Today I’m shooting an editorial portrait where I have plenty of time and it will be just me and the woman that I’m photographing so I’ve packed the primes. Yesterday I was at a job where moving around wasn’t an option and I went with just two zooms.

My internal debate doesn’t end there though. I am always looking back through my work and being self-critical and, if I’m being entirely honest with myself, I am probably a better photographs with zoom lenses. There, I’ve said it. Much though I love using a 135mm f2 I shoot better pictures eight times out of ten with a 70-200 f2.8. The same goes for the 28 and 50 against the 24-70. How can I ever hold my head up in the company of some of my favourite photographers who never use zooms now? Luckily they are all people who don’t care what you use as long as you get the pictures and the rest of my favourite photographers are shooting 99% of the time with zooms anyway.

It turns out that this is a silly debate after all because we are photographers whose goal is to produce the best and most interesting, creative, exciting work that we can within the bounds of what is possible and what is required. I’m going to persevere with my little bag of primes because I want to. When in doubt it will always be the zooms for me – aren’t I the fortunate one to have the choice?

Genesis PowerPort Duo 1000

genesis_duo_smallWhen my old Quantum Turbo Z battery died a few weeks ago I was a little bit annoyed. I hadn’t used it that much and I wasn’t that happy about getting another one. I had read several reviews of a battery pack available in the UK under several different brand names including Godox and Lencarta and I decided to investigate. The unit was available at a really good price from Calumet under their Genesis brand and as a member of The BPPA I was able to get a decent discount from the already low price of £125.00 inc VAT. At that price I thought that it was worth a shot and so I extravagantly rang Calumet from Paris where I was working at the time and got them to send the pack and a single Canon Speedlite cable so that my Genesis PowerPort Duo 1000 would be there waiting for me when I got home.

My first reaction was that it was a lot lighter than the Quantum, roughly the same size in terms of bulk and had two ports. It didn’t appear to be quite as well made and the covers on the two ports were feeling more than a little “plasticky” when I had a look at them. I’m never rough with my gear and so this isn’t always a problem so I stuck the battery on charge ready for a job the following day which was going to involve quite a bit of bounced flash.

It charged really quickly (to be fair, it arrived at 2/3rds full anyway) and I gave it a few tests just to make sure that it was functioning and that my decision to not bother reading the instructions wasn’t a huge mistake. All seemed well and it was recycling a Canon 580exII on full power output in a fraction over a second – every bit as quick as my Quantum Turbo Z.

I shot the job the next day and it performed flawlessly. Every frame was lit and the Speedlite didn’t get remotely warm (a danger with the Turbo Z). My investment was looking to be a decent one. There was another photographer on the job with a differently branded version of the same battery and he had a short cable that allowed you to charge any USB chargeable device from the pack. I had a play, it worked and I ordered one using Amazon Prime on my phone there and then.

That was all about three weeks ago and, as luck would have it, I’ve needed to use the battery a few times since and each time it has performed really well. I’ve topped up my iPhone using it too. To be honest, this battery is so light that it gets put into my bag where the Quantum probably wouldn’t have been. To sum up, when compared to the Quantum Turbo that I had been using it is:

  • Cheaper – at £125.00 inc VAT against the cheapest Quantum Turbo at just over £400.00 inc VAT
  • Lighter – at 500g it is than my old Turbo Z (844g) but a fraction heavier than the Quantum Turbo SC (422g)
  • Two ports
  • Optional phone charger cable
  • The pack has a separate battery which you can swap out easily

This appears to be one of the great photo-bargains. I’ll let you know if it fails to pass the durability test over the next twelve months – which is the only potential fly in the ointment. That’s why I went for the Calumet branded one – they have shops where I can go and take it back if it does fail.

 

Scavenging starlings
©Neil Turner, October 2014.

©Neil Turner, October 2014. Hengistbury Head, Dorset.

Anybody who knows me or my work would put wildlife and nature photography somewhere near the bottom of my interests. We were out as a family at the weekend having a drink and a snack at a cafe when a table of people enjoying an all-day breakfast behind us got up and left without clearing their plates. A mass of starlings descended and grabbed anything edible off of the plates. All I had to do was turn around and grab a few frames!

Canon EOS6D with Canon EF 50mm f1.4 lens.

You learn something new every day

It is one of the universal truths of photography that you never stop learning. Almost every time you pick a camera up something happens that you squirrel away in your memory banks that will make a difference to how you shoot something else at some time in the future. Normally these are small things but this week I was shooting the wonderful Talvin Singh performing at an arts festival and something happened that made me scratch my head because I’d never experienced anything quite like it.

©Neil Turner, October 2104

©Neil Turner, October 2014

The two pictures above were taken within a fraction of a second of one another under ‘exactly’ the same lighting without flash and with identical settings (manual everything apart from focus) on the same camera with the same lens and have been processed through Adobe Camera RAW identically. So why are they different? The answer seems to be LED stage lighting. You might conclude that both pictures are ‘quite nice’ and move on but that’s not really an answer when you are shooting something that has a moment that you absolutely have to capture. I’ve had issues with un-balasted HMI lighting and of course strip lights but this was in another ‘issues league’ entirely.

It appears that these brand new lights installed in a state-of-the-art theatre are an absolute nightmare for stills photography. Now that I’ve experienced this, I have been reading up on it and it seems to be a known phenomenon where the lights cycle between the red, green and blue LEDs in the light at a speed that the human eye chooses not to detect but that a camera shooting at shutter speeds of 1/125th of a second or higher has a real problem with. The higher you go, the worse it gets. Of course you could shoot at 1/60th of a second and all would be reasonably well – apart from any movement being a little/lot blurred.

Being a complete anorak I decided to shoot a series of tests at an even higher shutter speed (having first racked the ISO up a way) to see what happened:

©Neil Turner, October 2014

©Neil Turner, October 2014

That makes shooting under these lights at the kind of shutter seeds you need to freeze action nigh on impossible. Once I had realised that there was an issue I dropped down to 1/100th of a second and then to 1/80th and shot lots of frames. The first five frames above were shot at 1/400th and the last one was at 1/100th – what a difference.

Most of what I have read about LED stage lights concerns white balancing – well that was the least of my worries here. It was almost as if shooting with shutter speeds in excess of the cameras maximum flash synch speed (the highest speed at which the entire chip is exposed at the same moment) was part of the problem. The LED stage lights in this theatre were effectively pulsing or flashing and the only way to get a consistent image was to work with that pulsing and use shutter speeds below the maximum flash synch. I have read something on what appeared to be a well-infomed website which implies that this only happens when the lights are dimmed – which makes some sense. I haven’t got enough experience with this to work out whether the speed thing is a coincidence or whether it is directly related but I now know how to shoot in this one venue with these lights.

Shooting with shutter speeds that are a long way below “ideal” some of my pictures were sharp and many weren’t – but the job got done. Constant reference to the screen on the back of the camera is frowned on by a lot of people but this case proves that there are times when it is exactly the right thing to do. Imagine having had to shoot this on film with no LCD…

Presumably more and more theatres and venues will use these lights and the problem will grow. Maybe there’s a solution out there already?

©Neil Turner, October 2014.

©Neil Turner, October 2014.

Techie stuff: Canon EOS5D MkIII with a 70-200 f2.8L IS Canon lens. 1/100th of a second at f3.2 on 2000 ISO. WB set to daylight but adjusted in Adobe Camera RAW removing quite a bit of magenta and adding a small amount of yellow.

Canon’s EOS 6D – pressed into service

With Photokina drawing the crowds in Germany and with both Canon and Nikon announcing important new DSLRs I have (typically) been having a good look at a camera that has been on the market for ages. I bought my EOS 6D for a very specific reason; the ability to use it as a remote and control it from my smart phone. It performed that task rather well and I will definitely be making use of that function again but I also wanted to blog about what it’s like as a daily working camera.

Canon's small, light full frame DSLR. ©Neil Turner, September 2014.

Canon’s small, light full frame DSLR. ©Neil Turner, September 2014.

I was at another major show last week – The Southampton International Boat Show to be precise and I wanted to carry as little gear around with me as I could. Most of the work was going to be shot using EOS 5D MkIII cameras which have become my favourites (although they are far from perfect) for day-to-day jobs but I had a problem with one of them and decided to use the 6D as my second body once it had performed it’s (not able to post the pictures here) remote task. I had quite a bit of confidence in the camera having used a borrowed one when it was first launched and so I stuck a 16-35mm f2.8L lens on it and away I went.

Press day at the Boat Show is a mixture of dull press events, glitzy celebrity appearances and the search for different and interesting pictures that nobody else has. I found myself drawn to the official opening despite there being over a dozen other photographers there. To get something different I managed to get on board the tall ship Phoenix to see if I could shoot a different angle to everyone else. It wasn’t much of a gamble as the value of having the same picture as everyone else was pretty low on this job for me and I managed to get this nice frame of a couple of the invited children at the helm of the moored ship.

The sons of the late Olympian Andrew

The sons of the late Olympian Andrew “Bart” Simpson at the helm of the tall ship PHOENIX alongside Europe’s largest temporary marina. ©Neil Turner, September 2014.

Anyway, back to the EOS 6D. It is a tiny bit smaller than the 5D MkIII and it is a tiny bit lighter. It has fewer buttons and fewer megapixels (20 for the 6D and 22 for the 5D MkIII) and it only has a single SD card slot compared to the CF + SD combination on the 5D MkIII. It doesn’t have the same amazing auto focus and it isn’t as well built as the 5D MkIII either but, and it is a big but, it is really nice to use. It fits in your hands well and the controls are easy to use even with the camera to your eye – ergonomically speaking it ticks a lot of the boxes for me. I haven’t used it with a big lens attached yet and I suspect that with something like a 70-200 f2.8L IS it might feel a little unbalanced without a battery grip but with the 16-35 and with a range of primes including the 135mm f2L it feels great without a grip (I’m not a grip fan). The shutter sound is OK and the ‘quiet’ option is also pretty good.

I have written a lot about processing RAW files from various cameras recently and I found the 6D files to be remarkably similar to the 5D MkIII ones and that is a big plus for me.

As always there are a few things that I’d like to see changed on. Canon have this amazing knack of producing “almost perfect” cameras and the 6D is no different here. In no particular order:

  • I’d like them to add the ability to add custom file names in camera in the same way that you can in the 5D MkIII and the 1DX – surely this could be done as part of a firmware update?
  • All Canon cameras need to have the ability to lock the diopter adjustment on the eyepiece. Having to put bits of gaffer tape on every camera is getting boring.
  • I know that the camera already has built-in wifi but better Eye-Fi integration and the option to assign a button (the Q button?) to “protect” an image for transmission would be great.
  • Twin card slots on a MkII would be far better than the single slot that this version has. 2x SD would be fine.
  • Similarly, USB2 on a camera of this generation is poor.

I don’t shoot a lot of on-camera flash and I was caught out on this job where I only had a single 580exII with me. With not much time to work I found that the flash exposure with an older lens wasn’t great. It works well with the newer lenses and flash but the technology has left a couple of my older (but still great) L series lenses behind.

There was photocall with a couple of celebrities (Eddie Jordan and Claudia Winkleman) on the Sunseeker luxury yacht stand and I managed to steal the former Formula 1 team boss onto the bridge of a £3.8 million boat for a quick shot. I had to flash it and the head linings of the boat made a low but useable place to bounce from. Sadly my “exclusive” was ruined when a local agency photographer jumped in and did much the same shot. You win some and you lose some!

Former F1 boss Eddie Jordan on the bridge of a £3.8 million Sunseeker. ©Neil Turner, September 2014.

Former F1 team boss Eddie Jordan on the bridge of a £3.8 million Sunseeker. ©Neil Turner, September 2014.

So what about the 6D’s performance as a working camera then? It is good without being brilliant. Lovely to use but not perfect. I could have written the same summary of just about any camera I have ever used but for anyone needing a full-frame Canon body on a tight budget it really does represent a great buy. It will get used again soon and I will add anything that crops up. Anyone want to lend me a 7D MkII for a day?

Working other people’s files

From time to time I work with teams of photographers as an editor. It’s part of the ‘rich portfolio’ of roles that I have these days. 80% or more of my work is still shooting pictures and that’s great but for the other 20% of my working life I enjoy doing some other photo-related stuff. I’ve written before about teaching and running workshops and one of the workshops that I do is about sharpening up your workflow. For me the best way to help others improve their workflow is to sit down with them and go through how they work and then refine what they already do rather than to throw everything out and start again.

Editing other people’s work is a whole other matter. Imagine being in a deadline driven environment where you have several photographers all shooting RAW and where you have to occasionally grab their memory cards and do some of their edits for them. On one recent job I handled CR2 files from Canon EOS1DX, EOS5D MkIII and EOS5D MkII cameras as well as NEF files from Nikon D4S, D4, D3S, D3, D800 and D610 cameras over a two week period. Some of the cameras were left on factory settings and others had been set up by their owners to the point where none of the settings were left unchanged. RAW files obviously allow you to return the completely unchanged state but I am a believer in the idea that you trust the photographer to have made changes on purpose and to respect those changes wherever possible as you come to edit their files.

The old, old Nikon Vs Canon debate morphs into a NEF Vs CR2 debate. As a long-time Canon user myself I thought that I’d find the CR2 files far easier to work with and I was ready to spend far more time getting NEFs right. The biggest shock was that it was entirely the other way around. Files from the latest Nikon cameras can be easy to work with. Really easy. I realised after only a few hours that, as long as the in-camera settings weren’t eccentric, NEFs from the D4, D4S and the D800 were not only easy to work with (requiring relatively few adjustments) but that the quality was uniformly high. In contrast the imported CR2 files from all of the Canons looked a lot less impressive as they landed in Photo Mechanic and then in Adobe Camera RAW. On average, it took more clicks of the mouse (maybe 50% more) to get the CR2s looking as good as they should.

Needless to say, this was quite a revelation. It isn’t as if I hadn’t worked with other people’s files before but this was the first time that I had seen the results of so many different people’s work from so many different cameras in such a compressed space in time. The pictures were all coming from top class photographers and the end results were largely indistinguishable from one another but the route to get there was certainly different. There are way too many variables to draw any definitive conclusions from this but I can say the following;

  • Any reservations that I might have once had about the NEF file format are long gone
  • The results achievable from both NEF and CR2 full-frame cameras are on a par with one another
  • The idea that the colours rendered by Nikons and Canons are inherently different has a small toehold in fact
  • The RAW files from all of these cameras are incredibly versatile and you can get the desired results from either
  • Given the choice I’d go with the NEF from a well set up D4S as the file from other people I’d prefer to work with

Since that event where I worked all of these files side-by-side I have also had a long play with NEFs from a D810 and a D800E. They both require careful handling because of the absence of a low-pass filter over the chip. This gives greater apparent sharpness and a degree of “pop” that is hard to describe but on the flip side it is much easier to mis-handle the files and introduce noise and chromatic problems when using a RAW converter or Photoshop itself. To get around this you find yourself constantly switching between degrees of magnification on the screen to check the effects of any changes to contract, highlight, shadow, saturation or sharpening that you apply. I found this to have a significant slowing effect on my workflow but I also loved the quality of the images produced. The D810 is a camera that I’d happily add to my list of those producing desirable files to work with.

So, NEF Vs CR2? Out of the blocks the NEF files that I’ve worked with over the last few months streak into an early lead but the CR2s catch up along the back straight and they are neck and neck at the line. For now…

Image rescue software

sandsk_rescue_proI just thought that I’d post a very quick note about the free one year licenses that I got with two new Sandisk compact flash cards that I bought today. As someone who relies on their cards for a living it’s great practice to replace and update your cards so every few months I buy a couple of new ones.

Since I went freelance and got to start making my own purchasing decisions almost six years ago I’ve been buying ever larger and ever faster Sandisks. I don’t always buy the fastest or biggest but they tend to be faster and/or bigger than the last batch. Anyway, you get the idea.

This time it was a couple of 16 gigabyte 120 mbps CF cards that work nicely with the Canon EOS5D MkIII cameras each of which came with a one year license for the Rescue Pro Deluxe software. I was prompted to get a couple of new cards because my last one year license for the software expired a week or so ago. It struck me that this is quite a good way for Sandisk to keep me loyal and for me to keep up to date with the software. Every twelve months I need to buy at least one new card and by doing so I keep the software running. By buying two new cards, I now have two computers with valid licenses!

Everyone is a winner.

The joke here is that I haven’t ever had a Sandisk card go wrong on me. I have rescued a card belonging to a colleague (Transcend Card) and I have had some fun ‘rescuing’ a few very old and very small retired cards of my own.  Earlier today an ancient Lexar 512 Mb card threw up some images shot on a Canon EOS1D in 2003 and some more shot on a 1D MkII in 2005. A 2GB Sandisk card went through the process a few minutes later and that had some personal stuff from 2008 along with a couple of jobs from the same year. If I can find the right card reader in the loft, I also have a PCMCIA card dating from 1998!

This could become addictive…