All I would like to hilight this talk that is open to BPPA members and non-members.
First up is Alan. Alan Crowhurst is an award-winning horseracing photographer contracted to Getty Images. His life has always involved racing, his grand father was a racecourse bookmaker. In this interview Alan talks about growing up in Brighton, taking up photography, his passion for his profession, what it takes to get an award-winning ‘Crowhurst’ shot and his hopes for the future.
Following Alan, John Downing’s son Bryn Downing will present “Behind the Lens” , a 30 minute film on his father John Downing.
After the film a slideshow of John’s images alongwith the stories to go with them told by Hazel Thompson . Hazel has known John for 20 years, working with him on his “Legacy” book.
If you are unaware of John’s work – do a quick google and you will realise his impact on photojournalism as well as being a foundering member of theBPPA …
I am just back from 3 weeks of party political events, photographing the autumn conferences of our largest political parties; starting with the Liberal Democrats in Bournemouth, moving on to Labour in Brighton before finishing up with the Conservatives in Manchester.
It’s a gradual build up of importance culminating in the Prime Ministers speech – arguably the most important event of the 3 weeks (especially this year with BREXIT and the stories circulating about our Prime Minister Boris Johnson).
I headed up to Manchester having the 200mm/F2 Fujion lens on hire again, along with the 1.4TC (giving the equivalent of 300mm/F2 and 420mm/F2.8 on my Fuji X-T2 bodies). Added to that I took my normal supply of 3 x X-T2, the 14mm/F2.8, 27mm/F2.8 pancake, 90mm/F2 and the 50-140/F2.8 (just in case but the plan was not to use it).
On the morning of the PM’s speech, we arrive early for a briefing that informs us of the plan for the speech; entrance, exit, timings, security arrangements (where we can stand, where not) etc.
With the stories circulating about the PM it was clear that “the picture” of the day would be Boris and Carrie (his girlfriend) leaving at the end of the speech. However the briefing made it clear that getting this image clearly would be very difficult and as the pool photographer would get it perfectly, it was not worth worrying about.
So I formulated a plan..
I would start at the rear at the top of the stadium seating to photograph the PM as he enters, I would then bit by bit move around the rear of the hall, over the stadium seating at the other end before working round to the rear quarter, photographing Boris “conducting” his troops before working my way back to the original position for his exit.
Arriving in the hall before a good while before the speech I was pleased that as I suspected, most of the photographers covering the event had opted for the central positions to shoot the “traditional” speaker image. I was happy to be sitting up at the back near the entrance alone, hoping the others had missed a trick and that my plan was not totally unworkable.
Waiting, I shot a few images of party members around me and the general atmosphere. Then the moment arrived, the PM walked in alone down a dark part of the hall below me to greet members down the bottom of my seating area.
My plan with the blog post now was to show two totally out of focus images showing that we all make mistakes totally contrary to how we are supposed to portray ourselves online. However going back through the images I have found one that was in fact useable, one that I missed in the heat of the moment editing on the day…
Starting with establishing shots on the 200, 90 and 14….
Then adding the TC on the 200 (giving an equivalence of 420/F2.8) before moving down the back and shooting through spaces between the seating. A quick nod with one of the PM’s security detail to confirm all was ok with the location (next to him) , staying there for 5 minutes or so before moving on to the next location …
Having been briefed that the speech would be 40-45 minutes I allowed myself approximately 5 minutes in each location before moving on, getting the the far point on time for the “conducting” shot, before returning via the same method to my original position.
Once back, I was joined by one other photographer in this position for the exit but as there were about 8 positions reserved for us there was plenty of room. Planning for a “melee” image as the PM leaves, I removed the TC….
In all, photographing the speech and editing took about 6 and a half hours; from entering the hall at 8am for the briefing , planning, re-entering the hall at 10:30am through to leaving it at about 12:45 and then finishing my edit with all images with the agency by about 2:30pm. All for a set of photographs that I knew were unlikely to make the front page the next day because, as I said, the story was Boris and Carrie.
Not every paper went with the pooled “couple” image.. but most did…
I am doing a little talk at the Potteries Museum and Art Gallery in Stoke this weekend (18th August). If you are free why not pop down and say hello. There will be cream tea’s, a good selection of photos (not all mine) and (hopefully) an interesting talk (plus the BPPA’s assignments exhibition) .
Luna and I had been talking about getting together for a photoshot for a couple of years now. We met working together at Frightfest where she is one of the presenters of Frightfest TV.
When discussing the shoot we decided we needed a prop or two. She suggested she could use a Mustang GT for the day and so I outline planned an outdoor shoot. I say outline planned as with this kind of arrangement I only like to put together rough ideas as when heading outdoors weather is a a major consideration (especially in the height of summer in the UK). I also like to spend some time with the model, chatting and gauging their mood on the day before firming up my shots.
There are a number of ways to shoot a darker, gothic feel type style on a bright sunny day, my preference being for high shutter speeds with high power flash units. I worked with a couple of AD200’s combined with the X-T2’s on High Speed Sync.
The first set of images we shot right in the centre of worthing, near home, with my “assistant” holding a Godox AD200 with a beauty dish, just to get a feel of the light and how the shoot would go.
Now I had a feel, we packed a couple of the flash units, a couple of lightstands, modifiers and lenses and headed out of town (to the mighty burble of the 5.0L engine).
On the day, the light was really variable and most of the time I was having to use the Godox at full power (some of the shots had a second light) whilst waiting for the clouds to help with the light also.
I wanted the images to have a “film” quality to them and so back in the office I edited the RAW images in Lightroom using either the Classic Chromeor Astia simulations before moving them in to Photoshop for retouching. These two simulations gave me a choice of base tones (especially skin tones, where Astia is my favourite).
The final look was applied using the NIK collection (now owned by DXO) running inside Photoshop. I learned a thing or two here as well; It had always frustrated me how adding a NIK layer to a PS image was a “one hit” action. If I decided I did not like the look after I had applied it (or subsequent edits), with my old workflow it was a case of deleting the layer and restarting. However a quick goggle on a train this week revealed the “magic” recipe. Convert the source layer to a smart object first and then the NIK filters are applied as Smart Filters meaning they can be edited with a right-click..
As you can see above, I used a combination of Colour Efex Pro to get the contrast and colours where I wanted them before adding a subtle film look and grain with Analog Efex Pro.
The style may not be to everyones taste but we had a loot of fun shooting these and they definitely work with Luna’s style.
In a world where it seems everyone wants to leave the “rat race” and become a “creative” of some kind, why does it seem so guilty to admit it?
“Hi I’m Julie and I’m a photographer” – almost sounds like something that should be said at “Photographers anonymous” . Well I am and after a few months of struggling I am happy to admit it again, to myself and others.
Note: It’s often said that press photographers should not be creative but thats just rubbish, there are times to be creative and times not to be creative in this job, the key is knowing when.
I had become jaded with my work, with the situations I found myself in, with the images I created. The fact is it’s easy to blame the situation, the lack of control (in public places or arranged photocalls), the light, the kit (oh how often do we hear “if only I had xxxxxxx”) but the fact is, what we produce is never the fault of the kit, of the situation, of the lack of control.
What we produce is always a product of the decisions we make given the situation we find ourselves in. They may not be the images we planned, or want but we always have a choice how we shoot something, how we approach it, our attitude and our commitment.
I was recently introduced to the concept of “Hell Yeah or No”. Put simply it means 100% commitment. When presented with an opportunity, decide “Can I give this 100%?”. If not then say no! Once there, commit to the job, no matter what the situation, too controlled? poor light? bad positioning? poor location? If they are things you can control then take ownership. If not, make the best images you can.. 100%..
Take the 3 dance images above. When I had the notice that this photocall was available, I checked my diary, found I was in town and had time. It was obvious that it should make nice images, I was not sure what they would be as you never know how a production is staged until you see it, all I could be sure was that the light would be “interesting”. Upon arrival it was suggested it was “a bit dark”. I had sort of surmised this before and although I did not take a tripod I did carry my 35/1.4 , 56/1.2 & 90/2.0 giving me the best chance in low light. From then on it was a case of using what I had, making the most of the light and making the most interesting images I could. Some I shot with intentional blur, some I froze the movement.
The key was though, I did not think “this is too dark”, I just committed 100% to what was in front of me. Looking back now (and listening to others) it’s obvious, if I (you) don’t commit 100% to what I (you) are shooting, how can I (you) produce the best images possible?
“Hi, I’m Julie, I’m a creative and I am always going to create the best images I can”
Despite using, writing about and loving the XF90/F2 lens over 2 years ago in Cannes (and borrowing one since), I had not purchased one until a few weeks ago, when I took advantage of the (recently expired) cash back offer to pick a shiny new XF90 up from my preferred dealer Fixation.
It’s with this new purchase, a pair of X-T2’s plus a XF14/2.8 and XF56/1.2 that I rode down to cover WOMAD this weekend. Travelling by motorbike means I like to travel as light as possible. I had guessed that the XF90 (equivalent of approx a 135mm) would be ideal for half length images on the main stage, with the XF56 for full length. I guessed right.
The 2 most effective ways of using a wide such as the XF14 is either to get in close to exaggerate the perspective or to take a step back for the wide general view.
Moon Hooch performs on the Charlie Gillett Stage : X-T2 & 14mm@F11
Anna Calvi performs on the Open Air Stage shot from the top of the Light/Sound Tower. X-T2 & 14mm@F2.8 (1/5th sec)
On the smaller, less bright stages, the speed (wide aperture) of the XF56 enabled a lower ISO and higher shutter speed than the slower F2.8 lenses. Gigs (should) feature bright lights, strong colours and high contrasts which can make them tricky. Shooting with the Astia simulation dialled in, I set a fixed white balance (depends on the venue) and the dial down the hilights in camera whilst increasing the shadow contrast. The resultant jpgs require minimal work. (If it is a tricky venue, I do switch to RAW).
Anna Calvi performs on the Open Air Stage. X-T2 & XF56@F1.2
Macy Gray performs in the Saim Tent at WOMAD X-T2 & XF56@F1.2
The XF90 allows me to stay further back and produce an image with a lovely soft out of focus background. To enable a wide aperture on bright days I sometimes resorted to the Mechanical + Electronic shutter option. As long as there are no artificial lights or fast moving subject the ES is fine.
Relaxing in a hammock checking a smartphone. X-T2 & XF90@
Extinction Rebellion The Red Brigade at the WOMAD Festival. X-T2 & XF90@F2
Extinction Rebellion The Red Brigade at the WOMAD Festival. X-T2 & XF90@F2
I must admit i got a bit carried away with the bright reds of the robes against the dark greens of the arboretum and did not really shoot enough wide images to put the brigade into a wider context. I did love the images i got though..
So that was WOMAD, shot on 3 fixed length lenses. Zoom lenses are very handy but they are not the only tool!
I know it’s a few weeks ago now but I have finally managed to get round to adding this years Festival du Cannes images to my website.
Leila Conners and Leonardo DiCaprio poses at on the red carpet for Oh Mercy! on Wednesday 22 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Leila Conners , Leonardo DiCaprio. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon.
Quentin Tarantino poses at a photocall for Once Upon a Time In… Hollywood on Wednesday 22 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Quentin Tarantino. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Quentin Tarantino and Daniela Pick poses on the red carpet for Once Upon a Time In… Hollywood Premiere on Tuesday 21 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Quentin Tarantino , Daniela Pick. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Elle Fanning poses on the red carpet for Once Upon a Time In… Hollywood Premiere on Tuesday 21 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Elle Fanning. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Winnie Harlow poses on the red carpet for Once Upon a Time In… Hollywood Premiere on Tuesday 21 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Winnie Harlow.Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon.
Aishwarya Rai waits before walking on the red carpet for La Belle Epoque ( The good times ) on Monday 20 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Aishwarya Rai. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Leyna Bloom and Cast poses at a photocall for Port Authority on Sunday 19 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Leyna Bloom, Transgender . Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Nick Jonas and Priyanka Chopra poses on the red carpet for The Best Years of a Life on Saturday 18 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Nick Jonas , Priyanka Chopra. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Pedro Almodovar, Penelope Cruz and Antonio Banderas poses at a photocall for Pain and Glory (Dolor y gloria ) on Saturday 18 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Penelope Cruz, Penélope Cruz, Antonio Banderas, Pedro Almodovar, Pedro Almodóvar. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Antonio Banderas and Nicole Kimpel poses on the red carpet for Pain and Glory (Dolor y gloria ) on Friday 17 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Antonio Banderas, Nicole Kimpel. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Street Life – Wednesday 15 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: . \
Amber Heard poses on the red carpet for Pain and Glory (Dolor y gloria ) on Friday 17 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Amber Heard. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Amber Heard poses on the red carpet for Les misérables on Wednesday 15 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Amber Heard. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
With a week to go before the celebrations of HM The Queen’s birthday, (which means the group family shot on the balcony of Buckingham Palace), I thought that since it has been a while since I have used the Fuji 100-400 lens with it’s dedicated teleconverter, that I would head down to the beach on this hazy morning for a quick practice.
13-16 miles offshore from Worthing is the Rampion Wind farm. This distance may be far greater than that from the Queen Victoria Memorial to the Buckingham Palace balcony but the distance combined with the early morning haze does offer similar challenges.
Before the Royal Family assemble on the balcony, the expanse of road between the palace gates and the Queen Victoria Memorial is filled with crowds which, even on a cool day, provides quite a heat haze through which we have to shoot. Add to this the fact that we need to be working with between 600mm and 800mm lenses (or equivalent if not on a full framed system) and the result is that it is very tricky to get very sharp images.
It was with this in mind that I shot a few frames of the wind farm at different apertures, shutter speeds and ISO settings then came back to experiment with sharpening and other lightroom settings to see what a good starting point on the day would be.
After getting a set of results I am fairly happy with I thought I would do a monochrome edit of one of the shots….
Today is my last full day in Cannes for this year and tiredness has caught up. Luckily I had a few hours this morning to relax before heading out for the amFar event.
Its quite obvious from the work I post here and to instagram (@edwards_photo) that I love to work in black and white. Although my personal “walk around” fuji at home is set to the ACROS film simulation and I therefore shoot in monochrome, whilst working, I have to shoot colour and so use Silver Efex Pro, part of the NIK collection now owned by DXO to convert copies to Black and White. (My shooting style does not change , colour or mono, my images are still very much driven by light and shade).
Silver Efex Pro is included in a suite of products that also includes Colour EFex Pro and Analog Efex Pro. I originally purchased the suite back in the days when it was still owned by NIK (before the days of it being brought by Google, released for free and treated very poorly). Luckily DXO have now taken it on board and are moving forward.
Although I use Silver EFex all the time, I rarely play with the other applications, despite having them all set up as export/edits in my Lightroom.
In my free time this morning I decided to play with the other tools, looking back over some of the images I have taken on the streets of Cannes this year whilst moving between venues.
Street Life – Converted in Silver EFex
Cafe Life – edited in Analog EFex
Cafe Life – edited in Colour EFex and then Analog EFex
Cafe Life – edited in Analog EFex, adding film effects, dirt, and general adjustments
Combining the tools allows a large number of effects to be added, either subtly or completely over the top.
Filters and the like are scorned on in professional photography circles and of course a severe no-no in the press photography world but it’s always nice to have some creative fun and additional tools in the armoury do not hurt.