All my work has been cancelled! What Now?

The last few weeks have been difficult and it is about to get a whole lot tougher! What now?

During February I flew to Los Angeles to cover The Oscars and then to Berlin to cover Berlinale (The Berlin Film Festival). I then used a loan GFX50R on a photoshoot for a band. I had also covered the March4Women on International Women’s day and the 50th Mark Kermode in 3D at the BFI. I had planned that the next 5 or 6 posts were to be about these trips, shoots and the camera but events have overtaken us somewhat and I feel that maybe there are other, more pressing, words to be written. (The other posts will follow).

Stars and activists gather #March4Women this International Women’s Day for gender equality and climate justice on Sunday 8 March 2020. X-T3 / 16-55 + 2 * Godox AD200 for Fill

Like (almost) every other photographer I have seen my work diary empty, rather rapidly it must be said and I now have nothing booked. Obviously this crisis will come to an end and photographs/photographers will be needed again, hopefully the portrait bookings I had will re-book and there is the glimmer that Festival de Cannes will be moved to the summer (oh damn 2 weeks in the French Riviera in the Summer!) As I said above, but what NOW?

Only one person in the shop please. X-T3 / 27mm

As a press photographer the obvious thing is to go out and report on the carnage. The Shops, the queues, the goods shortages but then there are so many doing that.

Watching a Classic Film, Le Mans : X-T3 / 14mm @ F2.8 / 800ISO

I want to take a different tack. So many photographers have written on Social Media in despair, with no income what can they do? I want to suggest some different ideas to keep ourselves occupied and whilst these ideas may not solve the immediate financial problems, they will at least help with the future.

Reading West is West by Sarah Lee. : X-T3 / 14mm @ F2.8 / 1000ISO

First up – don’t sit doing nothing worrying. “Satan finds some mischief still for idle Hands to do” – as I see it the less we do the more we worry and these are worrying times.

The world will without doubt change, work will without doubt change. I personally cannot see it becoming a financially stronger world but maybe as people start to realise what actually matters to them. My hope is it will become a culturally stronger world.

Try to put that aside. Use your creative talents to add to (what I hope to be) this culturally stronger world. There are so many things we, as photographers can be doing right now, to strengthen our position for when the crisis does end. There are so many other things to photograph than shelves devoid of toilet rolls. Need Ideas?

Too much social media may be a bad thing, but it also may be a positive. : X-T3 / 14mm @ F2.8 / 1000ISO
  • For how long have you put off updating your website? Now is the time!
  • Don’t understand social media? Learn!
  • Lots of old images that are just languishing on your disk? Edit & Upload them to a stock library!
  • Think video maybe the way forward? Time to learn to light, shoot and edit video!

A quick note on the stock library idea: I know not everyone is a fan of libraries or agencies but at the moment, each month I get regular income from images I have shot over the past 12 years, this income will help hugely during the next few months.

A Pub Sunday lunch delivered! (Thank you Brunswick and Thorn)! : X-T3 / 14mm

The thing is, right now time is the one thing we have plenty of, so don’t rush these jobs, take your time, vary your day, tackle a task then get an old (or new) photo book down for inspiration. Then move on to the next small task. There is no rush the moment!

Supporting local businesses : A Pub Sunday lunch delivered! : X-T3 / 14mm

I’m doing all of these things but I am also doing a personal project: We as photographers always point our cameras out, at others and we defend ferociously our right to do so in public. So during this time I am pointing it inwards, documenting our home life, how we are living, what changes we are having to make to get through this. There is so much to document!

Too much social media may be a bad thing, but it also may be a positive. : X-T3 / 14mm @ F2.8 / 1000ISO

It’s not a vanity project, its warts and all!

Ok no warts but not exactly flattering! Home Exercise! X-T3 / 14mm (Interval timer)

I’m sure every photographer, if they think about it, can find something at home to photograph to make a project, either inside or in the garden. Home-working, family, there are so many subjects.

Don’t be idle and send me your links, ideas and work.. In times of crisis it helps to talk to others … Stay Strong!

J xx

ShutterSnitch Metadata Editor – A quick look

The last two posts on mobile workflow have raised a few questions from readers on how I deal with metadata. I thought I had dealt with it in previous posts (admittedly a long while back) but re-reading them it seems I had not covered everything.

Therefore this is just a quick overview. I am actually looking at running a course or two on this mobile workflow in the UK this year in conjunction with theBPPA. If you are interested, please let me know and I will send out booking information if and when…

A quick apology for the image I have used in this post – it was all I had on the iPad at the point I outlined this post.

From our last post we are at a point where there is a collection of images in ShutterSnitch either with or without metadata in the title field.

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.

Select file in DropBox / Export / Copy to Shutter / Create a Preset

The i Icon on the top toolbar switches ShutterSnitch to the Metadata Editor.

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.

The blue circle tick to the right indicates wether the field is applied in the preset, so if using the title field from Lightroom this would be unticked next to the Title/Object Name. Notice the %%titleObject%% – this is a variable, much the same as the Photomechanic variables although they are named differently.

If using Photomechanic , the variables will need replacing. 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.

Note: It does not seem possible to add variables into the keywords at the moment.

Headline, Caption, Keywords and other metadata in the preset.

If driving the Title / Object Name from Lightroom, the above preset could be applied to all images when selected and a quick check as you flick through will reveal all of the fields set.

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

Use Split Screen on the iPAD to Copy/Paste into Quick Select Strings

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.

All that is left after adding the metadata is to send using FTP or other Actions which are well covered towards the end of this post.

There are many more options are settings but hopefully this will get you moving. As always, please ask any questions in the comments to that others can also learn.

Lightroom Mobile 5.1 Workflow & Exporting

Last week I wrote about importing photos into Lightroom directly from the camera/card. This week I will continue with the next stage of my workflow. Yes I have written so much about iPAD workflows, this is because unlike my Mac workflow, my iPAD workflow is continually evolving as the software and platform develops.

The result of last week’s post was a named album of images for a project. All with just the basic copyright metadata and no other information.

My iPAD Pro is fitted with the keyboard cover and I also use the pencil with it. These 2 additions make important improvements to the workflow.

The first step is to pause the syncing (in fact I do this before the import as it is safer if the images are on the iPad only). Next enable a filter – to show only unflagged photos.

Click on the first picture and switch to edit mode. If the image is to be rejected hit the X key (just as in the desktop version). Due to the filter, the image will be hidden and the next image displayed.

If the image is a keeper, adjust as required, switch to the metadata view (the i icon) and type the basic subject in the title. (this will be picked up later – if many are the same, use cmd-c to copy the text to be pasted into the next image). Switch back to edit and press p to select (tap in the image area). The image is flagged and the next image is displayed (due to the filter).

Repeat until no images remain.

What happens next depends on your requirements. Maybe switch the filter to rejected, select them all and delete before un-pausing the sync to upload the images to the cloud and desktop.

To transmit the images to the newspapers or agencies, switch the filter to display flagged images only. These are the keepers.

Note: As an aside, the fastest way I have found to select all the displayed images is to hold down on a single image until it is selected, then click the box in the upper left corner. It changes from a minus sign to a tick. The share button can now be clicked to export the images.

Each export option contains it’s own settings which are far more detailed than in previous releases. Use the More Options to expand the settings. As each has it’s own settings it is now possible (for example) to configure the Save to Camera Roll to save a smaller image with a watermark suitable for social media whilst the Share To… option exports an image suitable to newspapers

For Social Media
For newspapers via shuttersnitch

Another big step forward is the share to now enables a direct export to a shuttersnitch collection.

I will not go into detail into shuttersnitch again as I have covered it so many times in detail. However I will show that the Title we added in Lightroom Mobile has indeed transferred and if used carefully, the metadata presets can build a full caption.. I will go into the shuttersnitch metadata editor in the next post.

A preset without a title but with a caption built from the title and capture time….
Image with caption

Once captioned the image are sent using the relevant action(s). See here for exporting actions…

This workflow shows images coming direct from the camera into Lightroom, on to the end recipient without hitting the photos app once, make the whole process faster and easier to manage.

Let me know your thoughts, I would like to hear from you.

Julie

Direct Import from Cards in Lightroom Mobile

At last! Its been a long while coming but finally we can import images directly from a camera/card into Lightroom Mobile on an iPad!

Apple’s iOS13 update opened up the Files application, allowing users to access data on external devices such as USB sticks, Hard Drives and of course Cameras/Cards. It took Adobe a little while to catch up but during December, Lightroom Mobile 5.1 was released which added the ability to browse locations in files.

Much of the information I have seen online says that it is possible to access the card directly from the import button after inserting it however I have not found that to be the best way to work. My workflow is to import the images directly into an Album for the project.

Add photos from Files into a specific album

Selecting from the Album Options … I Add Photos and select From Files. This enables the location to be selected, normally the Untitled USB device, browsing down to a lower folder. Once all the images to be added have been selected, click Open.

Preparing Import!

Lightroom then looks as though nothing is happening but take a look at the cloud icon where the sync progress is displayed…

It takes a while to prepare the import and then, one by one, they start appearing!

Hey Presto!

It’s a very simple process, one that is not the most obvious way of importing the images but it makes a huge difference to the iPad workflow, now mimicking more closely typical laptop workflows.

It means less reliance of the iOS native photos app and less housekeeping required on the iPad. In fact with the other updates in the latest Lightroom Mobile (major changes to the Export function , which I will detail in the next post), the photos app may be bypassed completely. Stay tuned!

Photoshot with Luna

Luna and I had been talking about getting together for a photoshot for a couple of years now. We met working together at Frightfest where she is one of the presenters of Frightfest TV.

When discussing the shoot we decided we needed a prop or two. She suggested she could use a Mustang GT for the day and so I outline planned an outdoor shoot. I say outline planned as with this kind of arrangement I only like to put together rough ideas as when heading outdoors weather is a a major consideration (especially in the height of summer in the UK). I also like to spend some time with the model, chatting and gauging their mood on the day before firming up my shots.

Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/2000,F4

There are a number of ways to shoot a darker, gothic feel type style on a bright sunny day, my preference being for high shutter speeds with high power flash units. I worked with a couple of AD200’s combined with the X-T2’s on High Speed Sync.

The first set of images we shot right in the centre of worthing, near home, with my “assistant” holding a Godox AD200 with a beauty dish, just to get a feel of the light and how the shoot would go.

Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/3200,F2.8

Now I had a feel, we packed a couple of the flash units, a couple of lightstands, modifiers and lenses and headed out of town (to the mighty burble of the 5.0L engine).

Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/1000,F5

On the day, the light was really variable and most of the time I was having to use the Godox at full power (some of the shots had a second light) whilst waiting for the clouds to help with the light also.

Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/4000,F3.2

I wanted the images to have a “film” quality to them and so back in the office I edited the RAW images in Lightroom using either the Classic Chrome or Astia simulations before moving them in to Photoshop for retouching. These two simulations gave me a choice of base tones (especially skin tones, where Astia is my favourite).

Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/4000,F3.6

The final look was applied using the NIK collection (now owned by DXO) running inside Photoshop. I learned a thing or two here as well; It had always frustrated me how adding a NIK layer to a PS image was a “one hit” action. If I decided I did not like the look after I had applied it (or subsequent edits), with my old workflow it was a case of deleting the layer and restarting. However a quick goggle on a train this week revealed the “magic” recipe. Convert the source layer to a smart object first and then the NIK filters are applied as Smart Filters meaning they can be edited with a right-click..

As you can see above, I used a combination of Colour Efex Pro to get the contrast and colours where I wanted them before adding a subtle film look and grain with Analog Efex Pro.

Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+XF56@1/8000,F1.2

The style may not be to everyones taste but we had a loot of fun shooting these and they definitely work with Luna’s style.

WOMAD

Despite using, writing about and loving the XF90/F2 lens over 2 years ago in Cannes (and borrowing one since), I had not purchased one until a few weeks ago, when I took advantage of the (recently expired) cash back offer to pick a shiny new XF90 up from my preferred dealer Fixation.

It’s with this new purchase, a pair of X-T2’s plus a XF14/2.8 and XF56/1.2 that I rode down to cover WOMAD this weekend. Travelling by motorbike means I like to travel as light as possible. I had guessed that the XF90 (equivalent of approx a 135mm) would be ideal for half length images on the main stage, with the XF56 for full length. I guessed right.

The 2 most effective ways of using a wide such as the XF14 is either to get in close to exaggerate the perspective or to take a step back for the wide general view.

Moon Hooch performs on the Charlie Gillett Stage WOMAD Festival (World of Music Arts and Dance) on Friday 26 July 2019

Moon Hooch performs on the Charlie Gillett Stage : X-T2 & 14mm@F11

Anna Calvi performs on the Open Air Stage WOMAD Festival (World of Music Arts and Dance) on Saturday 27 July 2019

Anna Calvi performs on the Open Air Stage shot from the top of the Light/Sound Tower. X-T2 & 14mm@F2.8 (1/5th sec)

On the smaller, less bright stages, the speed (wide aperture) of the XF56 enabled a lower ISO and higher shutter speed than the slower F2.8 lenses.  Gigs (should) feature bright lights, strong colours and high contrasts which can make them tricky. Shooting with the  Astia simulation dialled in, I set a fixed white balance (depends on the venue) and the dial down the hilights in camera whilst increasing the shadow contrast. The resultant jpgs require minimal work. (If it is a tricky venue, I do switch to RAW).

Anna Calvi performs on the Open Air Stage. X-T2 +XF56@F1.2

Anna Calvi performs on the Open Air Stage. X-T2 & XF56@F1.2

Macy Gray performs in the Saim Tent at WOMAD X-T2 & XF56@F1.2

Macy Gray performs in the Saim Tent at WOMAD X-T2 & XF56@F1.2

The XF90 allows me to stay further back and produce an image with a lovely soft out of focus background. To enable a wide aperture on bright days I sometimes resorted to the Mechanical + Electronic shutter option. As long as there are no artificial lights or fast moving subject the ES is fine.

Atmosphere at the WOMAD Festival (World of Music Arts and Dance) on Friday 26 July 2019

Relaxing in a hammock checking a smartphone. X-T2 & XF90@

Extinction Rebellion The Red Brigade at the WOMAD Festival. X-T2 & XF90@F2

Extinction Rebellion The Red Brigade at the WOMAD Festival. X-T2 & XF90@F2

Extinction Rebellion The Red Brigade at the WOMAD Festival. X-T2 & XF90@F2

Extinction Rebellion The Red Brigade at the WOMAD Festival. X-T2 & XF90@F2

I must admit i got a bit carried away with the bright reds of the robes against the dark greens of the arboretum and did not really shoot enough wide images to put the brigade into a wider context. I did love the images i got though..

So that was WOMAD, shot on 3 fixed length lenses. Zoom lenses are very handy but they are not the only tool!

Next up, probably Brighton Pride next week…..

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….