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 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.

I’ve seen posts declaring “Fuji is loosing it’s soul”

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”

Top View X-H2S

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.

More workflow stuff next week.

Glastonbury and iPad Workflow (pt1)

I’m sitting here writing this the Thursday after Glastonbury and (just about) starting to get over COVID (It hit me hard on the Tuesday evening after testing negative on the Monday, I tested positive on the Wednesday morning).

We had arrived at Glastonbury a week ago to this wonderful (not) notice.

Closed pits for all headliners as displayed in the press tent

This was a first and to be honest, although we expected a couple of closed headliner pits, we did not expect all of them to be closed. I think this tainted my experience of the whole weekend.

The wording there is fairly specific “closed pit” not “no photography” so my colleague and I headed out into the crowd at the end of Sam Fender’s set and took up a position. The Fuji’s with the 100-400 are quite easy when working in a crowd, being smaller but of course do slightly suffer with resolving power and focusing (X-T3) compared to full frame bodies and faster 400mm lenses. We stayed long enough to ensure we got a reasonably varied set of images before fighting our way out of the crowd and filing.

The strategy worked….

Billie Eilish images images on the 3 UK “broadsheet” websites.

So what was the workflow here? As I mentioned in my last post it followed my basic routine:

  • Create Collection in Lightroom for job
  • Import from memory cards direct into collection
  • Select and edit photos in lightroom
  • Add titles
  • Create a collection in ShutterSnitch for the job
  • Share images to ShutterSnitch collection which completes the captioning and sends via ftp
  • Archive the images
Folder and Albums in Lightroom Mobile (showing all 4 days)

You can see from the above image, I created a folder for the whole event and then a separate Album for each day, using my standard naming format.

Creating Folders and Albums

The Lightroom Mobile tool is basically a web tool, wanting to store all of its images in the cloud. This is a real issue when speed is of the essence (and when you have a slow internet connection – which for some inexplicable reason at Glastonbury this year we had the worst connection at a major event I think I have ever known). There are 2 key steps to managing this.

First, when leaving on a trip I always pause the sync.

The next step is on each folder, I enable the Store Locally option. To do this requires that there is an image in the album so if pre-shooting, I copy an existing image into each of the albums and then the Store Locally switch is available from the three dots options to the right of the album name

Now I am ready to import the images from the camera card into the Album (inserting the card/card reader into the usb-c slot normally displays the import options. If not the import is available in the lower right). The bottom line is the images do not touch the apple photos app at all. They go direct from the card into Lightroom and they may be RAW or JPG with no issues. In fact the Billie Eilish images were all processed from Fuji Raw (RAF) as I thought I might need more shadow & hilight recovery. The only difference between importing RAF and JPG is that in the import window, JPGs are previewed whilst RAF are just shown as empty boxes (no preview).

Importing images into the current folder.

In this post I have covered how I set up the iPad / Lightroom Mobile and import the images. The next post will discuss selecting & editing the images.

As I finish this post I have just had a conversation with my supplier about my first X-H2, apparently I can collect it next week. Well that has cheered me up from my COVID slump..

Until the next post…

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