FPS – FUJIFILM Professional Services

This week I had the need to return one of my X-T2’s for a repair. It has been worked hard and for some reason had developed an intermittent fault where it would not turn on.

Luckily I qualify for FPS – FUJIFILM Professional Services. Logging on to the page ( https://fujifilm-connect.com/en/fps.php ) , I selected the camera from the list of my registered bodies, entered the fault and accepted the quote. After paying online the booking was confirmed.

As the repair was not too urgent, I waited for the pre-paid packaging that Fuji send out (otherwise I could have sent in urgently myself). Fuji send a pre-paid Royal Mail Special delivery bag with custom box and packing for the item being returned which just needs dropping at the post office. 2 days later the camera was back in my hands having been delivered by courier back in the custom packaging. Nice and pristine it looked too, obviously having had a good clean as well as the main circuit replaced (according to the delivery note).

I have read varying comments on the Fuji service but I have to say my experience was very positive once I understood how it worked.

FUJIFILM Professional Services is also free for all people that register two qualifying X Series cameras and three qualifying XF lenses or free for all people that register a qualifying GFX camera body and a qualifying GF lens. It’s worth taking a look at . ( here )

Assignments is back!

In my role of Social Media and Web officer for theBPPA, I have been working on the marketing and launch of our forthcoming “Assignments” exhibition, the details of which may be found below…

The exhibition of the best of British press photography returns – this time on Londons South Bank – taking over the Barge House at the OXO Tower.

The opening night is Thursday 16th May – and will run until the 19th to coincide with London Photo Week.

We are doing things slightly differently this year – full details on the website – but here are the key facts:

  • Entries open on April 1
  • Entries close April 12th
  • Pictures taken between 31st August 2017 and 14th April 2019 are eligible
  • We have increased the maximum number of pictures you can enter to 10 this year
  • There is a £10 registration fee to help us pay for everything
  • There is NO framing fee this year – our friends at Canon and Fixation are very kindly picking up the bill for us!
  • We will be doing the “catalogue” and the “contact sheet” again
  • (every image entered makes the contact sheet – so you can choose your own favourites)
  • Everyone who enters gets a pair of invites to the opening night party!
  • The exhibition is open to BPPA members – but if you have lapsed or haven’t got round to joining you can do so now

Check out the Assignments website for the full rules and details of how to enter: https://assignments.thebppa.com

Shooting interiors with the GFX50S

I mentioned in my last post that I had hired a GFX50S for a major interiors photoshoot (well, I’m not sure if I mentioned interiors).

Looking down on myself. BFI Southbank. GFX50S, 32-64/F4

Given that I am mainly a press photographer, you might consider it a bit strange I am shooting interiors, the short line is, I actually started out many years ago shooting and teaching very technical architectural and historical building photography including producing rectified images that could be used for measuring features.

Back to the present day and I have reinstated building photography (well actually venue photography) to help grow my business (new website coming soon).

This led me to using the GFX50S with the 23mm and 32-64mm on a Tripod in the BFI Southbank in the second week of March.

Bar & Restaurant , BFI Southbank. GFX50S, 32-64/F4

Working in mainly performance venues and cinemas, my typical subjects have very bright lights (stage lights and projectors) in very dark rooms (with typically black dark walls). This means a very high luminosity range in most scenes and therefore my go-to method in the past has always been a form of HDR, bracketing all shots and then choosing how I combine them to get the get, most realistic result back at the office.

When I moved over the the X-Series cameras, shooting bracketed series became so much easier. On my old cameras I could set the bracket but I still had to press the shutter for every exposure i.e. Correct exposure, +1, +2, -1, -2 having to count each shutter press, every now and then I got out of sync and had to start again. With the X-Series (and now the GFX) this became so much easier, turn on the bracketing, switch to continuous and a single press fires the 5 shots. So much easier!

I shot the BFI with a mixture of X-T2 and GFX. For the larger auditorium the X-T2 and 14mm was mounted on a correctly set nodal ninja to produce a wide panoramic image (interesting note – although Lightroom has introduced panoramic blending, ptGui still does a better job with more control in my opinion).

NFT1 of BFI Southbank. X-T2, 14mm, Nodal Ninja

I triggered both the GFX and X-T2 using a Pocket Wizard PlusIII with a cable plugged into the 2.5mm socket. One thing to note that although the pocket wizzard can trigger the Autofocus, it is far more reliable to manually focus each shot, making use of the focus peaking to check the DOF. (For panoramas I never refocus, I choose an appropriate aperture and use hyperfocal).

So how is the GFX an improvement over the X-T’s for this work? If we ignore that the fact that the camera is producing bigger images there are 2 key points.

1. Detail. I know this has been covered to death but this camera really does capture all the detail and nuances of the scene in front of it. Even thought the delivered image might be no bigger than a file delivered from an X-T, the detail in even the downsized images still exceeds that rendered by it’s smaller cousins.

2. Dynamic Range. This to me is the real game changer. Scenes where I would still have typically used a second exposure just to add shadow detail, I could just lift the shadows on the GFX files. There really is so much more in the files as the comparison below shows.

Riverfront Upstairs BFI Southbank GFX50S, 23MM, Single RAF vs HDR comparison.

Whilst there are a number of DSLR’s now with around 50MP, offering a similar sized file, what the GFX50 offers with its larger sensor are less tightly packed pixels compared to standard full frame (simplifying it somewhat) . This very visibly leads to better quality pixels, resolving more detail and packing a greater range of light sensitivity, giving greater detail and smoother graduations in colour and light/shadow.

Obviously there are downsides. Autofocus is not fast enough for my press or red carpet work (although I have ideas here). It is expensive (compared to the remainder of the X series, less so it comparing to the high end professional Full Frame Nikons & Canons like the D5 & 1DX). I am going to try the GFX50R next to see how it compares which at it’s lower price point, may be a more viable option (although no vertical grip may make this too much of a compromise).

BFI Southbank GFS50S, Handheld 32-64/F4

So the bottom line, what value will it add to my business? Would it just be improved image quality or are there other benefits? Would these improve my profitability? These are the difficult questions every professional photographer has to consider when new cameras and technology are released.

At the price point, this camera in my mind is without comparison for photographing interiors and I will ensure I price all future work of this nature to enable me to hire this in. In such a technical genre of photography, this camera can feature as a sales point as well as production tool. The same is true for studio based portrait work where again, I will hire it in for the higher-end shoots.

The Riverfront , BFI Southbank. HDR GFS50S, 32-64/F4

At the moment I cannot quite justify adding this system to my owned arsenal but should the pricing change with the introduction of the GFX100 (100MP version), this point of view might change.

If you photograph buildings or landscapes, I highly recommend trying this camera if you have not already.

Fail to Plan, Plan to Fail

Like many photographers I must confess to not enjoying the “business” side of being a photographer as much as meeting people, creating images and being creative but the fact its, photography is a business and every transaction or project must be treated that way.

I don’t really write about the business of photography here so if you want to read my latest thoughts on this, head over to my main website and blog: Fail to Plan, Plan to Fail

A weekend at the BAFTAs

If you go back on my timeline you will no doubt find other posts from February’s past about the BAFTAs.

It’s an event I have been covering for quite a few years now and this year took a similar flow to years gone by; travel up on the Saturday, check into the hotel, cover the Nominees Party on the Saturday night, edit late, arrive at the Albert Hall for 2pm, cover the Red Carpet from 4pm till 7pm and then the Winners press room before heading back to the hotel at about 10:30 to edit till the early hours the next morning. A few hours sleep then finish the edit the Monday morning.

For the party I used 2 cameras, one with the 50-140/2.8 and the other with the 56/1.2 with the 56 used for only a few images like this one of the eventual Best Male Actor, Rami Malik

Rami Malik: X-T2/56mm @ F2

Just over 24 hours later, here he is with his award.

Rami Malik backstage: X-T2/50-140 @ F4

For the red carpet I used 3 cameras along with the 50-140, the 100-400 and again the 56 for the odd atmospheric shot

Lily Collins caught in a strobe: X-T2/100-400 @ F4.8 2000ISO

The 50-140 enabled me to get the fashion full length and half length images, combining with a Godox AD200 + remote head to fill in the shadows and detail. These are the images the magazines need as the following weeks publications around the world will be full of articles discussing the stars, their fashion successes and failures. (That is until the oscars when it will start again with a new set of outfits and stars). Getting these images is a case of setting the camera at the start and then continual concentration, the light is changing through the afternoon (white balance), the subjects may or may not look at you or even pose in front of you.

Rachel Brosnahan backstage: X-T2/100-400 @ 386mm/1/250th

Whilst ensuring that I don’t miss the fashion shots I like to keep a careful eye out for the images I find more interesting to shoot: Tight portraits showing the emotion, the stars standing in the queue waiting to have their photos taken (every year a queue forms consisting of the technical people that no one ever sees (the unsung hero’s), standing next to the up-and-coming actors, standing next to some of the biggest stars in the movie world.

Spike Lee waits in the queue: X-T2/100-400 @ 1/250th ISO2500

I shoot the close-ups with the 100-400, sometimes triggering a remote AD200 flash, sometimes on available light. This means using an higher ISO of 2000+ with a slower than standard recommendation shutter speeds (in most cases about 1/200th – 1/250th with the lens at about 600mm equivalence). A steady hand and good the great stabilisation of the lens rule here.

Steve Coogan waits in the queue: X-T2/100-400 @ 1/250th ISO1600

Over the course of the weekend I filed about 950 images, just under 20 were taken with the 56, about 170 with the 100-400 and the remainder with the 50-140.

I’ll post a fuller set of colour images (more likely to be seen in publications) later in the week but at the moment I thought a quick post featuring these images and a description of the working methods would give a good taste.

Snow on the Beach

I quite often enjoy a wander along Worthing beach first thing on the morning, usually with a cup of tea in my hand (I do not live far back from the beach). However this morning that tea would have gone cold rather quick.

UK Weather: Snowy and icy seafront at Worthing, West Sussex

Photographer on the beach :  X-T2 + XF100-400 @400mm 1/100 F5.6

Worthing quite often misses the snow when the country is hit, probably due to being shielded by the South Downs. However, this morning, last night’s snowfall remained and the beach still had a slight dusting. Having lived here for over 11 years now, I think this is only the 2nd or 3rd time I have seen the beach like this.

Snow meets the sea on at beach as Snow hits the South East of the UK on Friday 1 February 2019

Snow meets the sea : X-T2 +XF100-400 @ 1/200 F5.2

The combination of having the white of the crashing waves vs the white of the snow I thought looked quite surreal.

Commuters walk along the icy promenade as Snow hits the South East of the UK on Friday 1 February 2019

Commuters walk along the icy promenade : X-T2 + XF16-55 @16mm 1/250 F6.4

A cyclist rides along the icy promenade as Snow hits the South East of the UK on Friday 1 February 2019

A cyclist rides along the icy promenade : X-T2 + XF16-55 @16mm 1/250 F8

While snow and sea makes for nice landscapes, as a press photographer it’s the human aspect that is important, which means hanging around, watching and trying to show people dealing with the weather whilst at the same time trying to make a pretty picture.

The range of images here show working with the 16mm end of the standard zoom all the way up to the 400mm end of the long telephoto zoom (24mm to 600mm equivalent)

UK Weather: Snowy and icy seafront at Worthing, West Sussex

The sun rise & Ice : X-T2 + XF16-55 @16mm 1/1000 F8

Finishing with a nice pretty image – where I placed the camera in the snow and used the adjustable rear live view to see what I was doing….

Always be on the look out for those different angles..

 

Fuji and Godox at an event.

Once a month I can be found at the British Film Institute (BFI) working as the official photographer at film critic Mark Kermode’s live show.

Steve Coogan, Nadine Labaki, Mark Kermode, Liv Hill, James Gardner and Cyril Nri backstage at Mark Kermode Live in 3D on Monday 28 January 2019 at BFI Southbank, London. The guests gather backstage before the show. Picture by Julie Edwards.

This entails working backstage to get a nice group shot of Mark with all of the guests as well as joining everyone for a pre-show run though to make sure I know the order as well as the host and the guests. This way I can make sure that I am always positioned in the best possible position to get good images of both Mark and the guests which are suitable for both social media and press. For the group shot I use an X-T2 with the 16-55/F2.8 coupled with a Godox TTL wireless controller and an Ad200 handheld high above me near the ceiling. This way I can be sure to get (fairly) even lighting without flash fare or reflections in any spectacles.

Steve Coogan on stage at Mark Kermode Live in 3D on Monday 28 January 2019 at BFI Southbank, London. Steve joined Mark to chat about his film Stan and Ollie which he is watching here. Picture by Julie Edwards.

During the show I work with 2 X-T2’s, usually in Astia film simulation, preset to a fixed kelvin white balance, one with the 16-55, the other with the 50-140. As well as photographing the obvious, I am always looking out for the less obvious, the images that might capture the atmosphere of the event. The image above was shot at 10000iso, 1/100th and F2.8, and as you can see, with a little bit of an edit on the RAW file, its fine for social media and press use.

Nadine Labaki on stage at Mark Kermode Live in 3D on Monday 28 January 2019 at BFI Southbank, London. Nadine joined Mark onstage to discuss her film Capernaum. Picture by Julie Edwards.

I tend to have the focus set to “s”, sometimes with Face Recognition, sometimes without. Using it makes images like the above a whole lot easier to capture.

Mark Kermode on stage at Mark Kermode Live in 3D on Monday 28 January 2019 at BFI Southbank, London. . Picture by Julie Edwards.

Within minutes of the show ending, the images are on my laptop, loaded into lightroom and I start posting to social media (facebook, twitter and instagram) to publicise the event (with fully researched hashtags and handles where appropriate). At the same time, appropriate images are syndicated to press.

Working this way I am able to help build the reputation and visibility of any event I am employed to cover…..

Steve Coogan on stage at Mark Kermode Live in 3D on Monday 28 January 2019 at BFI Southbank, London. Steve joined Mark to chat about his film Stan and Ollie. Picture by Julie Edwards.