Lens in the Bag

One of the most annoying questions I see (almost every day) posted in Facebook groups and the like are “what lens should I buy next”, often with very little explanation. (I am willing to accept that this is my issue and lack of tolerance).

With this question in mind, this post is a run-through of the lenses I took to Cannes along with quick explanations of how I used them along with samples.

This is the list of lenses I used and image count of each from this years Cannes folder (taken from Lightroom)

Tackling that list in order, I start with the workhorse; the 16-55/F2.8 Of all the lenses, this is the lens that is probably of most use in general purpose photography. From a wide angle through to a slight telephoto (full frame equivalence of approximately 24-70), it is suitable for almost everything and should (almost) be the starting point for any kit bag.

In Cannes, my main use of this lens is on the Red Carpet, mounted on a X-T3 with the V1 flash fitted for shooting the full-length fashion type images as well as half-length portraits.

16-55 @ approx 16mm / F3.5
16-55 @ approx 32mm / F2.8
16-55 @ approx 52mm / F3.5

At the start of the week, I experimented using the 27mm pancake lens on the Red Carpet – mostly I use it as a camera body cap and walk-around lens. The way it deals with light coming directly into the lens (flare control) means it was not really suitable on the carpet or at gigs

27mm @ F3.6

Both of these lenses are perfectly good and produce nice contrast images (if you set your camera up appropriately) but for me, they show up the limitation of using an APS-C sensor, there is a limitation on getting a shallow depth of field. For this reason my two really favourite lens are the 56mm/F1.2 & the 90mm/F2 . I use both of these in a similar way.

The 56 is a great portrait lens, the distances involved on the Red Carpet means I usually create 3 quarter or half-length images with it, always shooting wide open. After all there is no point using a nice fast lens and then not making use of the shallower depth-of-field.

56mm @ F1.2

The 90mm I use in the same way, just tighter images (normally on the X-T2 body as the focal length leads to the images rarely needing much cropping). One thing I will say is the 90mm does seem to produce richer images than the 56.

90mm @ F2

The 50-140 telephoto lens is another real workhorse lens, enabling me to get fairly tight portraits when the subjects are at a closer range or full-length group shots up on the staircase. I think (on my X-T3’s with grips) that this lens handles fantastically, the zoom ring is lovely and smooth.

50-140mm @111mm / F2.8
50-140mm @140mm / F2.8

Because of distances, crowds, my love of tight portraits and less posed images, my 100-400 is my second most used lens (after the 16-55). With it I can shoot the talent in the crowds at the head of the carpet, create really tight and personal looking portraits on the carpet as well as head-shots up the stairs.

100-400mm @400mm / F5.6
100-400mm @400mm / F5.6
100-400mm @234mm / F5
100-400mm @190mm / F5

Hope this post gives a little insight on how my use of lenses helps to create different images and gives me more creative options.

Next week I will write my guide to back restorative exercises needed after carrying them all around for 2 weeks. Actually I will probably write about the GFX50R which I purchased last winter during the lockdown with the prime aim of shooting more landscapes (and for use in the studio shooting portraits).

Happy Shooting. J

Godox V1f – Things I learned in Cannes

It’s seems I always have something new to understand when I go to Cannes. (Well thats a general in life – the day we stop learning/have something new to understand is the day we die).

This year it was the Godox V1f Round Head Flash .

As usual this will not be a really technical write up (there are far more techie blogs and better writers for that), what follows are a few of my thoughts and experiences.

The first thing to talk about and one of the real reasons for getting this flash is the quality of the light. Not only is the fall off of the light at the edges far more pleasing, the hotspot in the centre seems, well less hot and more flat. (The above images have had the white and black points expanded to hi-light the fall off pattern.)

The second thing to talk about is the quality, this flash feels solid, well made, very similar to the AD200 and a definite improvement over their other on-camera units.

The battery is chunky and comes with it’s own USB-C charger which charges quite quickly. That said, even with heavy use (on the evening of amFar) I do not think I used more than one bar.

This quality and battery add up to a unit that is quite heavy and when top mounted on an X-T3 (even one with a fully loaded grip and 16-55/F2.8) the result is very top heavy. As my main use for flash during red carpet events is to shoot full length images, I use a custom flash bracket CB Mini-RC and in this configuration it does not feel to bad at all).

Stella Maxwell at amFar . X-T3/16-55 : 1/200 @ F5 & 320iso

Actually using the unit took a little getting used to. Although it does support High-Speed Sync and has TTL Metering, in red carpet situations I found this combination to be a little sporadic and the additional power required for HSS meant slower recycling (and the manual states that the thermal cutout is likely to cut in earlier). In slower situations this has not proved to be a problem.

Sharon Stone at amFar . X-T3/16-55 : 1/200 @ F5 & 320iso

Once in manual the unit really is consistent (see the two images above). With a bit of experimentation I came to the power setting of 1/16 +0.7, which allowed the unit to keep up with my X-T3 in High Burst Mode for the short bursts I shoot (Its a technique to try and ensure no other flashes and open eyes on the subject).

With the manual power set and the shutter fixed between 1/200 & 1/250 (so not using HSS) I worked back to get a suitable iso from the selected F-Stop.

Gemma Chan attends the Closing Ceremony Red Carpet. X-T3/16-55 : 1/250 @ F4.5 & 400iso

As the subject distance varied on the carpet, I needed to allowed for the fixed output of the flash by opening the aperture slightly (maybe 1.2 a stop) so I think the zoom head was also helping as little in this regard.

Overall I am very happy with the unit and its a great addition to my Godox kit, adding to the two AD200’s , the TT685 and single AD600. Like the other units it can act as a slave, controlled by any of the Godox Remote Controllers. Or it can act as the Master in a multi-flash set-up (which is how I will use it for portraits with the AD200 at the up-coming Frightfest where I will be returning as the house photographer)

Cannes, Covid & Brexit

Covering Cannes this year provided a couple of firsts for me. 

  • It was the first full-on red carpet event since the start of the pandemic (Although I was in Venice last August, I cant really count it as a full-on event as the restrictions compared to normal were quite extreme (justifiably).
  • It was the first travel time traveling into the EU since the UK finally left it.

As you can imagine – both of these points had a significant impact on working the event, all around COIVD-19.

During the 74th Cannes International Film Festival on Wednesday 7 July 2021 at Palais des festivals, Cannes. Covid-19 test results or proof of double vaccinations being checked as a requirement to enter the Palais. Picture by Julie Edwards/LFI/Avalon.

For anyone to access the event, COVID-19 status (Vaccination or Negative PCR test) had to be proved (a type of COVID-19 passport that is currently under debate in the UK), this had to be proved using the French app (TousAntiCovid ) or a printed QR code . This is where we experienced the first real impact of Brexit, the TousAntiCovid system does not recognise non-EU vaccination records. This meant that all non-EU nationals had to undergo testing every 48 hours whereas EU nationals did not.

During the 74th Cannes International Film Festival on Wednesday 7 July 2021 at Palais des festivals, Cannes. The Covid-19 testing site provided for festival attendees free of charge. Picture by Julie Edwards/LFI/Avalon.

For all of the Festival, good anti covid measures were in place, distancing, cleaning, mandatory masks.

Festival attendees in masks at the “Benedetta” Red Carpet during the 74th Cannes International Film Festival on Friday 9 July 2021 at Palais des festivals, Cannes. All attendees to the festival are required to wear masks in the Palais des festivals including on the red carpet. They are removed for photographs to be taken. Picture by Julie Edwards/LFI/Avalon.

However consider how working red carpet photographers have to operate; spacing measures just cannot be implemented. Photocalls and Red Carpet events had us standing shoulder to shoulder and pushing like in the good old days, for hours at a time. Black masks were mandatory (to tie in with the evening dress code) but let’s be honest, most masks are not really adequate in this situation.

Palais des festivals, Cannes, France. 9 July 2021. Photographers working at “Benedetta” Red Carpet. Photographers working on the Red Carpet are in close proximity to each other and are required to wear masks. Picture by Julie Edwards

If you are planning to work in the EU, it might be an idea to consider the following (assuming where you are working might have the same regulations):

If an EU national had caught COVID-19 (still possible even with double vaccinations), due to the proximity of other photographers at events it would have spread. The EU nationals , with their vaccination passports would continue to work (untested) while the non-EU nationals, when tested would be found to be positive and unable to work.

The bottom line is – in modern times, the UK being an island is only a physical attribute. For so many , our work is cross border and for work of any kind to be able to continue whilst COVID-19 is still a factor, a world-wide passport system needs to be developed.

Palais des festivals, Cannes, France. 11 July 2021. Bella Hadid attends the “Three Floors” Red Carpet. . Picture by Julie Edwards

The next post will talk more about actually shooting the festival on the X-T2 & X-T3’s . 

More Soon.

J

74th Festival de Cannes – A Monochrome View

I am just back from working overseas covering the 74th Festival de Cannes (Cannes International Film Festival).

I say “just back”, it’s actually 5 days now and I have just dropped off my “Day 5 test to release PCR-Test” so hopefully I’ll be back working soon.

I plan to write a couple of posts this week that will talk about the experience of covering the festival but in the meantime, here is a slide-show of monochrome photos from the 2 weeks, all shot on X-T3 and X-T2 Fuji’s.

Let me know what you think 🙂

Spike Lee poses at the Photocall for Jury Officiel Du 74Th Festival during the 74th Cannes International Film Festival on Tuesday 6 July 2021 at Palais des festivals, Cannes. . Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.

Cannes. A few of my favourites

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.

 

Head over to this gallery to view a few more of my favourite monos….

Cannes72 : Week 1

A quick post. As I am in Cannes covering the annual film festival, I thought I would share some images from the first 7 days here: