The last post left me at about 3:30 on The Mall having got there early on the Wednesday morning.
After filing my images and managing to get a dinner with friends in Soho, I headed to Westminster Hall where I had a 30 minute slot to photograph the late Queen laying in state at 21:30.
Luckily before dinner I was able to store some of the kit I was carrying in a secure location so again, I needed to plan what images I wanted to make. Many of the National papers and major agencies had earlier time slots which enabled me to see what they had filed. As expected most had focused quite tightly on the coffin, guards and visitors (there is an saying in the press photography world “Tight, Bright and Shi……” .
The Westminster Hall, where the late Queen was laying is the oldest part of the parliamentary estate and having walked through it many times I had an idea of its grandeur and size. I headed back with the 35/1.4 mounted on the X-H2S and the Laowa Ultra wide on the GFX50R.
The sensor on the GFX50 has an enormous dynamic range and shooting in RAW on that camera gave me the best chance of getting detail in the rafter shadows as well as the colours of the Royal Standard & Yeoman Warders.
Stopping the lens down a bit and reducing the ISO enhanced this enabled me to slow the shutter and blur the members of the public giving them a ghostly appearance.
Stopping this lens down a bit also does give nice a nice star points.
With the H-2S i focused on the details like the changing of the guard.
The final post in this series will be later in the week when I focus on the day of the funeral. As always I would love to hear your comments and questions.
Wednesday 14th was the day of the ceremonial procession from Buckingham Palace to Westminster Hall where her late majesty would lay in state until the funeral.
I was allocated an elevated “rota” position on The Mall . The procession was due to start at 2:30pm but having checked out the position the day before, I wanted to ensure that I had the forward corner position to enable me to shoot the approaching procession so after waiting for a pret to open for my breakfast, I arrived at the position slightly after 7:35. Yet again a long wait ensued.
The above image shows my position. An hour or two before the procession I set up a GFX50R with the Laowa 17mm, clamping it to the scaffolding to be triggered by a pocket wizard setup to get a wide image of the procession. The difficulty then is to ignore the camera and not keep fiddling / testing / adjusting it all the time up to till its needed.
The GFX was being triggered by either the HS2 or TX3 which I would be shooting in a burst mode, however the GFX would only fire on the first shutter press. To get rou5nd that and get a burst from the GFX I set it up in a bracketing mode (shutterspeed) at +/- third of a stop which got be 5 frames per burst.
Alongside the GFX I had two other cameras set up: The X-H2S with the 150-600 plus an X-T3 with 50-140 (both triggering the GFX).
As the procession moved down the Mall I started with the longer of the cameras, trying to pick smaller frames and members of the royal family from the scene.
Shooting with a fixed shutter speed and a changing aperture (due to the zoom), the ISO was reducing as the procession moved closer. These three images give an idea of the flexibility and aperture changing.
Once the procession got to this point it was a quick switch to the X-T3.
Then back to the X-H2S for the final image(s) as her late Majesty moved away.
Once out of view it was sit down, edit the images (on the iPad following the workflow I have outlined previously), with pre-set metadata in ShutterSnitch, waiting for the public to disperse so I actually had a strong enough signal to actually transmit the images. (Long story but it seems 4G is far more robust in these situations than 5G).
So after getting to the stand at 7:40am(ish), I finally left it at about 3:30pm (maybe later). However the day was not finished yet, during the time on the stand I received details that I would have a 30 minute position at the Laying in state .. but thats for the next post..
I look forward to hearing your comments… Until the next time..
I was sitting with a number of other “entertainment” photographers at the Red Carpet for the Mercury Awards on the evening of the 8th when the PR for the televised event came and told us it was cancelled. Although we had an inkling earlier in the day, that was really the point at which I knew the Queen had passed away.
It was strange, although I have not covered “proper” news for some years, instinct kicked in, do I go to the the palace and wait for the flag to be lowered to half mast? Or do I go somewhere else? What I actually did was wait for the news to be confirmed by the palace and made a commitment to myself to make sure I do my upmost to photograph as much of the historical period as I could.
In the morning I was on the phone to Nathan at Fixation “can you get me a 150-500”? (In my mind the 100-400 might be pushing it over the next week or so for the upcoming state funeral and other events). Quite simply there were none of the new Fuji long zooms in stock. Next stop was Fuji themselves to see if there were any hire units available… yep! A few mail exchanges and I was sorted, about 30 minutes after which Nathan called me back “they have just come into stock, do you want one? I can get it to you tomorrow morning (Saturday)”. One credit card transaction later followed by a few hire cancellation emails and the new lens was winging its way to me.
All this occurred whilst i was on a train to London with 2 cameras and a couple of primes (the 35 & 90) to get a feel for the atmosphere there.
The mood was very sombre and quiet but I could not help but feel there was quite a few people being a bit over-zealous with “I’m sad” , “here’s a selfie of me being sad”, “here’s a picture of my flowers”, “here’s a selfie of me laying my flowers” oh and for good luck “here’s a picture of my flowers at the palace”..
I did not shoot much that day, nor over the weekend where I stayed at my studio in Worthing and on the beach practicing with the 150-600 which was delivered nice and early on the Saturday morning. (Posts to follow on this lens!)
My next day in London was Monday the 12th in the capacity of photographer for Mark Kermode Live at the BFI (a monthly show) preceded by a trip to Green Park to see how the floral tributes were shaping up. The mood remained sombre and I was pleased to see far less people making their visit about themselves.
I was back in town the next day; I needed to collect my accreditation and go through security checks for the procession to the laying in state the next day but also photograph the late Queen arriving at Buckingham Palace for the last time (as she was travelling down from Scotland that afternoon).
Hanging around the palace from about 2pm, taking a few more pictures and discussing the events with other photographers it was really difficult to judge what to do. It was clear for me the palace needed to be in the image (as surely that was the point) but knowing where the official position was and how many other photographers were around it was difficult to come up with a plan (where possible I don’t like to follow the herd, it’s true that sometimes there is just one image thats right but this night was not one of those cases). I was walking away from the front of the palace wondering if the wellington arch might be a better spot, concentrating on the hearse and the crowds and as I walked down the side of the palace I got an image in my head.
I did not have a clue if this would work. It would be dark by the time the Queen arrived (remember at this point we did not know the coffin would be lit) but I decided to do an all or nothing gamble. To be honest I thought I had maybe a 50/50 chance and even if it did work it would not be the sort of image that most of the press would use but I did think it would be a moment in history so I sat down, in the drizzle, hoping I would not be moved on and waited for 5 hours , chatting to those around me.
It got dark. Then it got darker. I kept turning the ISO dial, ending up on the max setting!
The image above is the one I had in my head. A small coffin returning to the large “state” (I hoped it would be lit by the car behind, the fact the coffin was lit was a huge bonus).
The second image probably tells the story better for many though. The coffin, clearly draped in the royal standard, lit, passes into the arch as 2 soldiers stand guard.
The latter part of this blog tells the story of one image, by one photographer. Image then how I an others must feel when we see pages like this one on the bbc site. All those images created by many photographers, each image (all much better than mine) with a story, planning and a lot of time by a photographer and yet not one photographer is credited. The credits go to the organisations that distributed the images (or the photographers employers) and the people that selected the images on the page.
So please. Next time you look at an image (still or moving) on the web or in the paper, spare a thought for the work that has gone into it by a photographer.
My next post will detail the following day of the state procession
I am not a “royal photographer” by any sense of the imagination, however over the years I have photographed Queen Elizabeth II many times as part of my work as a press photographer either as part of the “royal rota” or at what are known as “fixed points” (i.e. Accredited)
My first memories of the queen having any influence / importance are from the Silver Jubilee year, I can remember the street party and fancy dress quite well but my overriding memory is away from these.
The Queen was due to visit Highbury Fields (my family are from the Islington area in London although we lived in Edmonton at the time). My parents wanted to take my brother and I to see her on this day however it was a school day so mum planned to phone us in sick. That day was also my cycling proficiency test day and I was in tears, being extremely upset at missing it which would mean I would be unable to cycle to school.
A compromise was reached. I went to school in the morning, did the test, earned my right to cycle to school before earning another award – this time for acting as I threw my best “tummy cramps and headaches” performance.
My parents collected me from school “sick” and we made it to Highbury fields seeing Her Majesty shake the hands of a couple of elderly women standing next to us (dad had a theory that she had a regular pattern of greeting on these walkabouts).
Anyway I digress… here is a very quick selection of photos I have taken of the late queen over the years….
Another non photographic post, although the lesson (if there is one) can without doubt be applied to the business of photography..
I think people of a certain age have had a couple of sayings used around them for most of their life and these sayings have been hammered into them too deeply and they without doubt they have huge negative effects.
“Pride Before a Fall” can be manifested as “can’t ever be proud” (of achieving) thats wrong.
“Self Confidence” was often mistaken for “Over Confidence” .
Confidence in the self, self belief, call it what you will is a huge requirement of making the most of our lives. Without it time will be spent sitting on the sofa, staying in a negative job or situation and not making the most of our lives..
The most important message I think we can impart (to our children and others) is “Have confidence, be strong, work hard, you can succeed in your dreams”
Take the current situation. Following in COVID I have a (very) part time design job. I’m really grateful for it. Without it I am not sure where I would have been through the pandemic. It helps us and it help my son. Before that it helped pay to get my son through university (the reason I took it on – we can live with an income that fluctuates but for student rent etc.. not great).
Now I’m getting back to being busy, very busy. The photographic business is rebuilding and sales are starting to grow in the art business I started during the pandemic) so I’m starting to plan the way I can leave the part time job, with the way the economy is going it’s going to be tricky and it’s not going to be tomorrow, there is a balance to be made and I’m confident the tipping point is getting closer. My partner is concerned but backs me 100%.
My parents however are totally different, all they do is voice is concern and worry, just like they did when I was a teenager (I guess thats what my parents generation do). When my son decided to leave go freelance straight out of university I did not say its all sunshine and fun in the freelance world, I think I was truthful but backed him 100%, if he has confidence to do it, then I have it also. I think the generations before us measure confidence in a different way, they only see salaried jobs as the option. I’m confident but not over confident, I have self belief.
Putting it in a slightly shorter fashion. Sunday I was planing a 12km run. I have not run past 10km for 3 years. Most of my running post 2018 have been between 5 and 10km.
Since a hip injury during the 2018 London Marathon I have been fearful of it returning, I was worried about running distances, my running pace was off because my stride length is short because, guess what, i was scared my hip would go if I lengthened my stride.
For an hour before Sunday’s run I started I was pacing up and down, my head was saying I can’t do it, my body will break, my hip will go.
I made an effort to reframe the run. I made it about breaking that fear. I ran intervals concentrating on kicking my feet out and lengthening the stride in the running intervals and then walking fast with long strides between.
I made the distance, I beat the fear. (I’m sure it return but … today i won)
What am I trying to say in this post? In our creative lives there are jobs we might get offered, shoots we want to do but something holds us back. Well this is the time for measured Self Confidence, it is time to reframe your fear and beat it.
This post is not actually for the photographers, it’s for all the lighting techs and lighting techs in training (hopefully a few lecturers will read it also). Especially for the techs at small venues.
Before I go on to the post proper, I need to explain that I totally understand the job of the lighting is to produce a show for the gig goers, the fans, the audience. There is a reason the large bands tour with huge lighting rigs and show; it is to provoke and enhance the atmosphere, to elevate beyond just a person or band standing on a stage performing. I know that. This is beyond doubt.
However before an act reaches the levels where they can afford to go on tour with their own crew and rig, the venue technician is usually the person responsible for how the act looks on stage and as that person you should have a few other considerations.
The acts you are dealing with are normally trying to establish themselves, they want or need reviews, be they on websites, bloggers, or in local or even national press, they need to get thier name out there. When it comes to reviews, pictures help, great images can grab attention, they can promote a review from a lesser spot to a more prominent one, a reader may stop and read a review based on the image.
Anyone involved in gigs knows the rules “first 3 and out, no flash”.
So put basically, if there are photographers or videographers in the house you have 3 songs to make your act look great. After the first 3 you can do everything to build the atmosphere but the first 3, why not help the artist?
(Ok I know there are artists that don’t like photographers or who want to be in the dark, to them, I refer to the paragraph above)
So how can you help?
Turn the lights on! Pitch black does not really help!
LED colour washes look really bad on camera!
Add a bit of white to the front, even if you have heavy back lighting or colour washes
Front/Side lighting works! Flat washes are boring.
What do I mean about the LED colour washes? Well put on that yellow or blue colour wash that seems to be the “flavour of the month” at the moment. Now stand where the artist will be and take a selfie on your phone? How does it look? Let’s just say not flattering! Compared to the filtered incandescent lamps of old, LED lights produce a really intense colour that might look great from the back of the room but from the pit, on camera, it’s probably one of the least flattering looks there is. Modern camera sensors have a real issue dealing with it and it’s tricky to dial out. Adding some white from the front on the artist makes all the difference and the rest of the stage still looks great from the audience.
You might think I’m writing this just to make my life easier in the pit. I am but because I want to produce greatflattering photos. I’m not a kid, I’ve been doing this for a while and whilst there are many more experienced photographers shooting with the big names out there, I’ve been doing this in the smallest and largest venues there are for quite a while and the bottom line is, good photos help everyone in the business!
So the next time you light a venue, have a think about those first 3. Any photographers in there? Do your act and the venue that employs you a favour..
If you have read this blog for a long time or if you follow me on social media you will know I ride a motorbike and do not drive a car. This means if I choose to go to a festival and camp on the bike, I need to pack carefully. Some would say, right take 2 zooms, 16-55 & the 50-140 however one of the reasons I go to WOMAD is i don’t know what I’m going to get, which acts might become more relevant to press or who will be reviewed therefore I go with no pressure, no expectation, just having the aim of producing lovely images (there is always lots of colour here).
So my packing was 2 x X-T3, a 14/2.8, the 35/1.4 , a 56/1.2 & 90/2.0
Add to that a small tent, minimal wardrobe and the MT-07 is loaded.
Taking prime lenses means I have to work (slightly) harder to get the images, working the angles but this makes me think and slow down and think about how I want to portray the act.
I’ve said it before and I’ll say it again “there is no point having fast lenses if you shoot with them closed down all the time” so probably 90% of my images are shot wide open
Japanese vocal performer Hatis Noit was a joy to shoot – bright colours, amazing shapes and lighting that shouted “play with me” and with the 90 on camera and the 56 on the other I obliged with both lenses rendering the colours (in Astia profile) really nicely with (the 56 mainly) beautiful flare.
Kae’s set was in complete contrast, more simple, stark and emotional
I was sad to read the demise of regular visitor Carters Steam Fair and although the modern replacements are colourful, making lovely images, I feel they are just too brash, not meeting the the atmosphere of the festival.
The 56 is well touted as a great portrait lens – shooting wide open with eye tracking as I did for this backstage portrait of Wayne Coyne, lead singer and songwriter of the Flaming Lips, renders the background and even the hair lovely sand soft ensuring the eyes and face get all of the views attention.
The 14mm was useful a few times none more so that with Taiwanese contemporary dance troupe B.Dance, closing the aperture down slightly to keep them all in focus.
Im writing this on the Sunday morning before I shoot the acts of the last day, (the super efficient workflow you have been reading about 🤪 means I am totally up to date with my editing and sending) .
I think the images from the first 3 days give a good enough flavour how I use (and am inspired by the quality of) the Fuji prime lenses.
I have tried not to use the same images as I have posted on my social media channels in this post so if you do not follow me, there are links elsewhere on the page.
So, break out the primes, don’t just twist, use your feet and brain, and go create some images.. I look forward to seeing them.
Ok, I know I said a few posts back “no camera reviews” , however – a few thoughts….
At the time of writing (a week or so ago), I had completed 4 “proper” jobs with the new flagship camera. Below are some images and thoughts from 3 of these jobs:
Kermode 3D at the BFI
Mabel at Somerset House
Bullet Train Gala
The above image is Nick, running the clips on the Kermode show at the BFI. He’s only lit by his laptop, no house lights. He is laughing (hence movement blur on the face). The camera had absolutely no problem locking onto his eyes. The technical details are below.
I’m closer this time – the eye tracking locked onto Nick’s eye despite so much of the face being covered.
The next job was Mabel performing at Somerset House. Shooting with the 90mm fully open on AF-C, face tracking. No issues with the flashing lights, dancers, fast movement or profile shots.
I’m still trying to get used to the button layout but as my camera’s are in Manual mode 90% of the time, the P-A-S-M dial is not an issue. That said I find it really annoying that in Manual mode I cannot re-assign the front command dial to roll the ISO as then it would match my X-T3’s and be far faster to adjust. When most of my lenses have aperture rings it really makes no sense to dedicate this dial to aperture!
The last of the 3 jobs was the Bullet Train UK gala screening. For this I used the X-H2s with the 100-400 for headshots. The eye tracking always found its target – tracking accurately as they walked and moved, even finding Brad Pitt’s eye on a 3/4 rear view (i.e. the dip in the profile where the eye was as he turned – i am wondering if it was the reflection on the sunglasses!)
Overall this camera is a HUGE step up from any of the other Fujifilm cameras with subject tracking that can be relied on at speed. Additionally although the CFExpress cards are expensive – seeing the RAW files download in a fraction of the time that it takes to download JPG images from the SD, the switch is positive.
Happy shooting and back to the Workflow with the next post.
This post is a duplicate from one a few years ago but with some additional ideas for using collection names with a few more examples showing how flexible the system is.
From our last post we are at a point where we have exporting images from Lightroom to a collection of images in ShutterSnitch with key information (main image description) in the title field.
Note: I have totally skipped actions which ShutterSnitch may apply to arriving images at this point – if you have actions defined, for the sake of setting up the MetaData, ensure “Do Nothing” is selected. This will make sense later.
The first issue is, where do we start with our data? Can we start with Photomechanic? The answer to this is yes we can. I export the XMP from PM into Dropbox and then on the iPAD, export the file into ShutterSnitch.
Note: If starting from a Photomechanic template, the variables will need replacing as the syntax is different.
The i Icon on the top toolbar switches ShutterSnitch to the Metadata Editor.
As shown in the above images there are a number of options along the lower screen. The left-most tool is the Preset Editor
The choices are just to select a preset or use the Edit button to edit the presets available (the usual iOS left swipe to delete) or click to edit. Hold down to duplicate an existing preset.
First a basic preset of mine (from a Kermode 3D show) where the caption is automatically built from the Title (as added in Lightroom) and a number of other fields. For this show I know the location and all the other details. The only things that change are the subject/person. In the image (Title) and the Date.
The blue circle tick to the right indicates wether the field is applied in the preset, so as we are using the title field from Lightroom this is unticked next to the Title/Object. Notice the %%titleObject%% – this is a variable .
There are far fewer in ShutterSnitch. They may be accessed from the tool hi-lighted above. Below is a typical preset driven by the Title/Object Name field with the date automatically added also.
And the next example is the template I used at Glastonbury this year. Note. That I have brought the %%colname%% variable into play (Collection name). This gave me the simple solution for ever changing locations (or events), multiple image collections, one for each stage or location, sending images from Lightroom direct into the correct collection building a complex caption.
Hint: As we are driving the Title / Object Name from Lightroom, all of the above preset(s) could be applied to all images when selected and a quick check as you flick through will reveal all of the fields set. Alternatively they could be applied through an action automatically as the image(s) arrive from Lightroom (hint!)
Once the preset is created, other tools are available in the editor. Quick select strings (which are field sensitive, so create them in the Title field if that is where you plan to insert them) may be created and selected.
This enables a list to be built, maybe copying and pasting from a website before the event
The final options are Shortcodes.
Press and hold to edit the available lists. Creating new Sets and editing are fairly straightforward.
In use Shortcodes are slightly less usable than in Photomechanic as after entering the code (however many letters you use), the Icon (tee-shirt) needs a quick click for the software to expand the code to it’s full length. Shortcodes do, however save on spelling errors and incorrectly titled subjects.
Once the metadata is added the images can be sent (most likely using FTP ). The next post will look at configuring the FTP before we start putting it all together in an action that automates the whole process.
A slight intrusion into the workflow posts because the number of posts I have seen with this “loosing their soul” comment is making me smile. I do wonder why people are so blinkered nowadays and feel that “change is bad” or “this works for me so I cannot see why it does not work for everyone”
The thing that has upset everyone is the change in the top-plate dials. Gone are the separate shutter speed and iso dials and in their place, a PSAM dial & secondary display.
As you readers know, I’m a press photographer – I drive my cameras hard and need to change settings fast all of the time (I say this just to hilight I am not a studio photographer where the settings on the camera can be stable for the whole shoot).
I switched to Fuji with the X-T1 for work because I loved the colours in the images, the lightness and it was obvious that mirrorless was the way forward. I also loved the look, the feel and the dials – especially the aperture ring but to be honest – wonderful as these dials are – they are just not fast enough – in my world i need to be able to change the settings – all the settings – without removing the camera from the eye. My current X-T3’s are both set with the ISO on’A’ (so it can be adjusted with the front command dial) and the Shutter on ‘T’ (rear command dial), with the aperture on the lens ring.
If you are designing a camera that is all about speed (X-H2S – the clue is in the S) then having the default way of using to be the way I have my X-T’s set up makes sense, in which case, from a designers point of view, (logically speaking) what is the point of the dials? If the dials are of no use, then why have them? It’s just another possible location of a water ingress or other failure. Lets use that space for something else (when I used the X-H1 I loved being able see the state of the batteries without turning the camera on).
So have they lost their soul? Have Fuji abandoned their roots? I will argue no. My argument is not based on the dials, not based on going after financial rewards or entering difficult markets, it’s based on one fact.
The camera features a 26.1MP BSI X-Trans 5 stacked sensor. Not a bayer sensor, an X-Trans sensor! Its the sensor that is responsible for the look of the images that Fuji produce that we love so much, and having that sensor in this camera indicates, to me, that Fuji has without doubt not changed it’s path. The image is everything.
This is a professionals camera, a tool, that enables Fuji to operate in a market that it was not able to. We have to remember that the camera interface is just like everything else in the world. One size does not fit all.