Equipment and my equipment choices tend to evolve pretty slowly. Way back in the 1980s I was using a lot of off-camera flash on location and that meant either owning and running a lot of extension cables with my Elinchrom mains powered units, buying (or renting) a Norman system or using some basic flashguns (the term speed light hadn’t really entered common usage by then, other than as part of a Nikon model name) to do the job. I came across the Lumedyne range (old school) in the mid 1990s, although they had been around for a while by then. Before that I spent many happy years with my cobbled-together battery powered flash kit which was based around the already long-in-the-tooth Vivitar 285 system. I call it a system because there was a ton of accessories that you could get for it and it had some common connections that meant you could pair it up with almost anything you wanted to.
I mention all of this because I stumbled across a pretty much complete Vivitar 285 kit when I was looking for something else in my many boxes of disused and “may-come-in-handy-one-day” kit. In the box were: (more…)
A few weeks ago I was on a simple PR job alongside a small video crew and another photographer. Like most jobs we talked about what we needed, let the video team go first and then shot our pictures. As the day progressed the pattern was repeated until just after lunch the other photographer ran out of power for his camera. He was using a single Canon EOS5D MkIII and I was shooting with two EOS5D MkIVs so we had the same type of battery and I offered to lend him one of my spares. When asked how many spares I had I said that I had four in my camera bag and another four in the car along with a battery charger that would run in the car or on mains should I get desperate. He was amazed that one photographer could own so many and I was equally amazed that anyone doing this for a living wouldn’t. Since then I have been asking around and it turns out that I am quite unusual. (more…)
The days when everything we did was aimed at print are gone. We have to produce images for a very wide range of uses these days and so I decided to go with a monitor that has excellent colour, brilliant flexibility and a simple (very Mac friendly) interface. This LG fits all of those requirements with ease. When these monitors first appeared in the Apple Store there were a lot of negative comments and I was pretty dismissive of them myself when I saw one. Over time I have grown to like them and now that Apple’s own professional monitor cannot tick my boxes I decided to place my order for the LG. (more…)
Thursday 23rd May at the wonderful Cherryduck Studios in Wapping.
For anyone who remembers that far back my www.dg28.com website started out as a vehicle for me to post updates about the work that I was doing along with some technique examples that I rather pompously called “photographer education”. Well, that was in 1999 and a couple of years later I started doing occasional workshops and lectures about my use of portable flash on location. I have done a lot of talks over the years including a couple on behalf of The BPPA to coincide with exhibitions that were held on the old SS Robin at Canary Wharf. SS Robin attendee Steven Frischling said
“He’s good folks… totally worth the price of admisssion, got off the plane and went right to work with what I learned from you within hours”.
(Steven had flown from Pennsylvania and was en route to Germany!) (more…)
Slowly but surely application developers are replacing their 32 bit versions for Apple OSX with 64 bit ones. As things stand there are only two bits of software that I use on a very regular basis that are still only available in 32 bit and the most important (and dare I say “most exciting”) of those, Photo Mechanic, gets an upgrade later this month. It has been a while coming, and I have mentioned it here on this blog once or twice already, when the next iteration of OSX is installed it stops us being able to use 32 bits apps altogether. Because I have the luxury of having three Macs I always have one of them running the latest (or even beta) versions of everything. That way I can satisfy my curiosity without risking my production machines with untested or insufficiently tested software. (more…)
When I published my piece last month about the arrival of the Kodak DCS520 cameras I included an interesting portrait of Theresa May MP taken just over eighteen years ago. Several people – including some picture editors – got in touch and asked to see the whole shoot. It was the second time that month that I had photographed Mrs May which, given that I was working for a group of education titles, wasn’t that unusual back then. As always the interview overran and the time for pictures was severely curtailed. The inside of a Member of Parliament’s private office is rarely interesting and so I went tight with what little time I had. (more…)
On the 18th of November 1998 my working life changed. Forever. That was the day when I received my first professional digital camera that was solely for my use. The Kodak DCS520 was a Kodak/Canon hybrid camera (also known as the Canon D2000) based on the Canon EOS1N that had a 1.9 megapixel CCD sensor with a small LED display on the back and removable PCMCIA flash storage cards. It was a revolutionary piece of kit and it didn’t seem to matter that it had a 1.6x crop factor. Nor did it matter that it didn’t work properly with the 540EZ Speedlight which was the top-of-the range offering from Canon at the time. We didn’t even mind the shutter lag because the DCS520 was infinitely better than the previous DCS offerings and much more convenient than having to process and scan colour negative film. (more…)