HM Queen Elizabeth II … pt 4, The Funeral

Much like the day on The Mall, the day of the funeral was another early start having stayed in the city overnight so I could get to the Queen Victoria Memorial (opposite Buckingham Palace) at 7am (ish). Then followed a another (less) long wait for the event to unfold.

Being a photographer is not about just waiting for the event to start, it’s about being aware of all that is happening around you. I noticed a young girl quite a way down the Mall stroking a white police horse, taking the image below on the 150-600. I posted the image on instagram and a few days later, received a message.

“The horse is called Verdun, his stable name is Dave, he is stabled at Bow Road Stables and came to the met after he was fired by the army for being naughty! As you can see he much prefers being a police horse! 

I work at bow , all the officers at bow and I have admired your photo , I just thought you would like some background”

I cannot help thinking this is the same horse that I photographed on the first day outside the palace and who I posted in the first post.

X-HS2 & 150-600 @ 500mm F7.1 / 320th

There were 2 sets of photographers on the QVM. One set to photograph the procession coming down The Mall towards the palace and another (where I was positioned) to record the late majesty Queen Elizabeth passing the palace for the last time.

During the morning, the guards positioned themselves and the palace staff created a line in front of the palace to pay their respects one last time.

X-T3 & 50-140 @ F2.8 / 640th

Of course I took any images of the procession but the one we were really here to capture was the coffin passing the palace for the last time as The kings troop lowered their standard in front of the palace

X-T3 & 16-55 @ F5.6 / 640th
X-HS2 & 150-600 @ 420mm F7.1 / 640th

And of course the wide view..

X-T3 & 16-55 @ F5.6 / 640th

My overriding memory of the day is the haunting silence. I have been in London for 1 minute silences before (for example remembrance day) but the 2 minute silence that morning really was silent, I’m not sure I’ll ever experience that in the centre of London again, even the birds seemed silent.

This last post in the series is a little late – I managed to write the others whilst away working but my last week of work – at the Conservative Party conference was just a bit to manic to sit down and write. The next post will go into those two weeks and the using the 150-600 a little more.

I end with my last view of the late HM Queen as her coffin left my view…..

X-HS2 & 150-600 @ 600mm F8 / 500th

HM Queen Elizabeth II … pt 3, laying in state

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.

GFX50R / LAOWA17 @ 4.5Secs exposure

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.

X-H2S & 35/1.4 @ ISO 1000
X-H2S & 35/1.4 @ ISO 1000

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.

HM Queen Elizabeth II … pt 2.

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.

My position (iPhone)

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.

GFX50R / 17mm @F5.6 ISO 320

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.

GFX50R / 17mm @F5.6 ISO 320

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).

X-H2S / 150-600 (at 730mm Equiv) F7.1 1/500th

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.

X-H2S / 150-600 (at 458mm Equiv) F6.4 1/500th

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.

X-H2S / 150-600 (at 225mm Equiv) F5.6 1/500th

Once the procession got to this point it was a quick switch to the X-T3.

X-T3 / 50-140 (at 75mm Equiv) 1/500th
X-T3 / 50-140 (at 99mm Equiv) 1/500th

Then back to the X-H2S for the final image(s) as her late Majesty moved away.

X-H2S / 150-600 (at 900mm Equiv) F8 1/500th

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..

HM Queen Elizabeth II … pt 1.

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.

X- H2S & 35/1.4
X- H2S & 90/2

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.

X- H2S & 90/2
X- H2S & 90/2
X- H2S & 90/2
X- H2S & 90/2 (more about this horse later 🙂 )

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!

X-T3 & 16-55@2.8 – ISO 12800

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).

X-H2S & 50-140 @2.8 – ISO 12800

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

Frightfest 2022

Packed Bag: GFX50R / X-T3 / X-H2S / 16-55 / 90 / 56 / 35 / Godox Lights / Triggers

Since 2009 my August Bank Holiday Weekend has been spent in Leicester Square as the official photographer for the Frightfest Film Festival.

This year was no different as I headed up last Thursday morning with the Think Tank Airport full to the brim with 3 Fuji Cameras, Assorted Lenses plus Godox lighting (with a couple of Lume LED’s thrown in for good measure).

With full control of the Frightfest Media Wall and it being many of the filmmakers first experience of one, I try to make it a fun time for all whilst I endeavour to create images that are a cut above the normal flat step and repeat images that emanate from most of these events.

Tom Felton : X-T3 / 56 @ 2.2 / Single Light

I do this by setting up an AD200 on a stand controlled by a camera mounted V1 on the X-H2S. I also set up an X-T3 with a controller so I can switch to that using just the AD200 for single light portraits. With the V1 controlling the light I can change the balance, making the light flatter or adding more shape with the AD200 on the fly.

Megan Rose Buxton : X-H2S / 16-55 / 2 Lights

I augment this by moving mine and the subjects position / angle as we shoot to bring in the shadow I want.

Kyra Gardner / X-T3 / 56 @ 2.0 / Single Light

Of course this is all only possible because I have complete freedom (within reason) and a bit more time than the rest of the photographers. With the number of films attending (I shot over 60 films + atmosphere & a dinner over the weekend) there are always time limits so I have to work fast.

Zach Cregger : X-T3 / 56 @ 2.8

These limits are even more pronounced when photographing a genre icon like Dario Argento. With the security pressures keeping the autograph hunters at bay along with Dario’s increasing frailty it meant working very fast while he was with me. As I have photographed Dario a few times I decided to go all out and just go for a single light portrait on the GFX. With the language barrier between us i knew I had to get the light right up front as I would not have much time to adjust. I have too say I was fairly pleased with this…

Dario Argento : GFX50R / 63 @ 2.8 Single Light

The Timelapse below shows creating this image

Photographing Dario Timelapse / iPhone

Away from the media wall I created a number of portraits over the weekend featuring the Cinema staff who wore horror cosplay. These portraits will be the subject of the next post.

Self Portrait on IMAX screen : iPhone

As always, I select a good number of images from around the festival to create a slideshow on the IMAX screen before the last film screens. For the first time I put my self portrait / light test in. The bottom line is that the images have to be good & sharp to stand up to this huge sized scrutiny…. (They do 😉 )

Until the next post, let me know your thoughts and, as always, stay creative !

Primed for WOMAD

Loaded and ready to go (iPhone)

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.

Fatoumata Diawara – 56/1.2

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 – 90/2.0
Japanese vocal performer Hatis Noit – 56/1.2

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 Tempest – 56/1.2

Kae’s set was in complete contrast, more simple, stark and emotional

Fun of the fair – 35/1.4 @ F2 / 1/25th

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.

Wayne Coyne – 56/1.2

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.

Taiwanese contemporary dance troupe B.Dance – 14mm/3.6

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.

More soon..

X-H2s – 4 jobs in

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.

Face tracking and IBIS in the (very) dark
Face tracking and IBIS in the (very) dark

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.

Getting images out of ShutterSnitch (workflow pt. 7)

A very short post on how to get the images out of ShutterSnitch and on to a main PC. The app, when running offers two methods of connection: FTP or Webdav (accessible using Finder on a mac). The username and connection settings are shown in the main settings dialog for ShutterSnitch, it is this username plus the password configured when the ShutterSnitch was first set up that are used to connect.

ShutterSnitch only shares the current image collection (hence me putting into a single collection) so confirm the settings as above and then switch to the collection to transfer before attempting to connect.

Here I am using the Connect to Server tool from the Go menu in finder on my MacBook. Note the use of the webdav port listed above in conjunction of the IP address of the iPad setting on the WiFi network (the IP address for the iPad can be found by using the i icon in the network settings.

The image files are listed as expected and copy/paste etc can be used to copy them into the required folder. Once copied ok, I delete them.

This image shows the images in Photomechanic after copying.

I do not actually add the images I send vis ShutterSnitch into my Lightroom Library, the sent ones I keep just as an archive of images “just in case”. My main Library/Archive is maintained by synchronising Lightroom Mobile to my MacBook based main library before carrying out a minimum number of housekeeping steps before they are filed away.

The next post will detail these housekeeping steps before I move on to other tools use in my Workflow.

As ever,, any questions or thoughts? Get in Touch!

Putting it all together (Workflow pt. 6)

Camera, Images, Action !!

To paraphrase a well known saying. If you have followed these last few posts you will know that we are sending images from Lightroom Mobile to ShutterSnitch where we have configured Metadata & FTP locations to send the images to. Now lets tie it all together.

Accessing the gear icon for the actions.

The sliding arrow points to the action that will be applied to each image as it arrives in the application. So what does this particular action do?

That action on my system, changes the file name to suit the destination (I wont break this down – it should be self evident once you add this task to your action) then it applies one of the Metadata presets (as I showed a few posts back). Finally it exports to the FTP location.

The clever bit being that if the send to the location is a success , the action “Sent Alamy” is also run. What does that do?

It applies another Metadata Preset (one that only sets the rating and label).

Then it moves the image to another collection “ALL SENT”

This (hopefully) leaves the initial collection empty as all the images move out of it as they are sent. Any that do remain need re-sending.

The final 2 images of this post show Lightroom and ShutterSnitch sitting side by side on the iPad screen (use the 3 dots to set up split screen view) allowing editing to continue as ShutterSnitch sends.

This post ends the workflow as it is on the iPad itself. The next post will start to look at how I work on the desktop, moving the images off of the iPad, consolidating the images in the main library and other processes that have really advanced my workflow. (Beware – Lightroom plugin’s ahoy!)

Any comment or questions – get in touch!