This event is held on the Beach (Car Park) at Santa Monica in an open sided tent.
The locals were very much about “It’s so cold” , “make sure you wear layers” etc. Having come from Berlin the week before and the BAFTA’s before that, I have to say, it might have been cold for L.A. but cold? Not really!
As I was shooting for clients mostly, I decided to shoot fairly straight up and down, choosing the 16-80mm & 50-140mm on the X-H2s and X-T3 respectively.
As usual, the images were edited in Lightroom Mobile and sent from a Cafe Santa Monica via Shuttersnitch (See the software page for links).
Here are a few of the images (with a couple of Oscar winners amongst them) ….
Attendees of the event included Jamie Lee Curtis, Jessie Buckley, Jodie Turner-Smith, Cate Blanchett and Ke Huy Quan
It was nice to see this image of Cate and Michelle used in the UK press the next day.
I had neglected this blog for so long but now I am getting in the habit of writing again it’s nice to see how you guys are returning to reading here. I mean what I say when I ask for comment, feedback or if there is any subject you would like me to cover – please comment 👇👇
I have been struggling for a couple of days deciding when to publish this post. I have the feeling that some may think I did this essay because I was feeling a little aggrieved that I was not covering the Academy Awards this year but the truth is I wanted to do this essay when I was last here in 2020 (but I did not have time). There was also the issue of not waiting too long as there would no longer be any relevance, so here it is…(a few days after being sent to press outlets)…
The story of the homeless in the area has been covered by so many in the USA and the UK and I really did not want to produce more “poverty porn”. However one of the effects of the Oscars is that it compresses the extremes of life, the richest and the poorest within a couple of blocks of Hollywood.
On Hollywood Boulevard, Hollywood, Los Angeles, CA on the 1st March 2023, 12 days before the 95th Academy Awards will be presented in a ceremony held by the Academy of Motion Picture Arts and Sciences at the Dolby Theatre in Hollywood, lanes the boulevard have been closed and work has started on the “build”for the Red Carpet event.
While the eyes of the world are trained on the red carpet event, scattered around the neighbourhood, some just a few hundred metres away from the event, many homeless people are living in tents on the sidewalk.
These tents were photographed on the 6th March 2023, 6 days before the awards, on the junction of Las Palmas Ave and Selma, Hollywood, Los Angeles, CA.
The problem of homelessness in Hollywood, Los Angeles, CA has been around for many years. In 2019, LA Sanitation and Environment (LASAN) launched the Comprehensive Cleaning and Rapid Engagement (CARE/CARE+) program including the Mobile Hygiene Program which provides restrooms and showers for unsheltered Angelenos.
Each client is provided with hygiene products, clean towels, and a clean change of clothes. Additionally, clients receive a hygiene kit with essentials that they can keep with them. Since inception, the MHU program has serviced more than 23,000 guests. This MHU was photographed on the junction of Las Palmas Ave and Selma, Hollywood, Los Angeles, CA on the 6th March 2023, close to the tents pictured above
As the red carpet event “build” continues, further lanes of Hollywood Boulevard are closed off running a few blocks along from the event venue, the Dolby Theatre, Hollywood, Los Angeles, CA and the security is increased as seen on the 6th March 2023.
6th March 2023: North Highland, Hollywood, Los Angeles, CA. Meanwhile, further down N. Highland Avenue, the canvas homes are overlooked by the 95th Oscars signage.
7th March 2023: Vine Street, Hollywood, Los Angeles, CA. The problem is spread across the Hollywood neighbourhood, this small tent being pitched on Vine.
7th March 2023: Sunset Boulevard, Hollywood, Los Angeles, CA. The tents are also highly visible on the famous Sunset Boulevard, a few blocks from the Academy Awards Venue.
7th March 2023: Hollywood Boulevard, Hollywood, Los Angeles, CA. During the day, many (homeless??) may be seen wandering the streets sorting through the litter (trash cans).
7th March 2023: Sunset Boulevard, Hollywood, Los Angeles, CA. During the day, many (homeless??) may be seen wandering the streets of Hollywood, Los Angeles, CA, carrying blankets.
All Images & Text by Julie Edwards.
The images were produced over the span of a week, shot on a mixture of the Fuji GFX50R, the X-H2s (with 16-80) and one on the iPhone13.
So, not my normal kind of post but one I hope resonates with you. Until the next post… let me know what you think….
A very quick post with a few images of the BAFTAS – why? Because I was told today by a follower (a fellow photographer in Berlin) that I am not writing enough……..
(I am writing this from the Berlin Film festival looking forward to photographing Cate Blanchett on the red Carpet tonight)
For me the BAFTAs this year were the start of a long trip away, with a number of different jobs that have very different requirements… so I spent Saturday away from my studio packing, then unpacking and re-packing..
Packing for Travels. Smart clothes, not so smart clothes, X-H2S, X-T3, GFX50R, iPad., yoga mat.. & plugs…. Lots and lots of power outlet adaptors
So this trip covers 3 countries on 2 continents, which of course means 3 different power outlets.. UK, Euro and US.. Why can’t the world agree on a format for power sockets?? Sometimes I feel half my case is taken up with leads and adaptors to enable me to charge my kit…
However, I digress. Space at this years (new venue) BAFTA awards was in short supply and unlike in the past where the distance has required the 50-140mm plus the 100-400mm, this year I worked mostly with the 16-80mm/F4 (on the X-H2S) and the 90mm/F2 on a X-T3 with the main target being full length / fashion images.
A selection shot with the 16-80mm/F4 and X-H2S
The light was fine and with the clean backdrop (better than previous years) it made for nice, clean, if not a little boring, images.
I used the 90mm to try and get a little atmosphere (having positioned myself so that this would hopefully be possible). Unfortunately the set-up made this a little more tricky than in previous years with less of the queue visible. I did manage a few …
X-T3 / 90mm @ F2
After the arrivals, it was off to the winners photo-call area, again with less space than previous years and my position was not great, I stuck to my original plan of staying tight, shooting on the 50-140 on the X-H2S
X-H2S / 50-140mm
In the last week (and not having time to have it looked at before I traveled), my 50-140 has started “hunting” when in AF-C on the X-H2S / Face tracking. It’s still way better than it would be on an X-T3 however it is a little annoying – all other lenses on this body are fine so as soo as I return it will be off to the service dept I think.
I have a few more days here before moving on to my next destination and set of jobs. Ill post about Berlin from there…
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…..
This post is not actually for the photographers, it’s for all the lighting techs and lighting techs in training (hopefully a few lecturers will read it also). Especially for the techs at small venues.
Before I go on to the post proper, I need to explain that I totally understand the job of the lighting is to produce a show for the gig goers, the fans, the audience. There is a reason the large bands tour with huge lighting rigs and show; it is to provoke and enhance the atmosphere, to elevate beyond just a person or band standing on a stage performing. I know that. This is beyond doubt.
However before an act reaches the levels where they can afford to go on tour with their own crew and rig, the venue technician is usually the person responsible for how the act looks on stage and as that person you should have a few other considerations.
The acts you are dealing with are normally trying to establish themselves, they want or need reviews, be they on websites, bloggers, or in local or even national press, they need to get thier name out there. When it comes to reviews, pictures help, great images can grab attention, they can promote a review from a lesser spot to a more prominent one, a reader may stop and read a review based on the image.
Anyone involved in gigs knows the rules “first 3 and out, no flash”.
So put basically, if there are photographers or videographers in the house you have 3 songs to make your act look great. After the first 3 you can do everything to build the atmosphere but the first 3, why not help the artist?
(Ok I know there are artists that don’t like photographers or who want to be in the dark, to them, I refer to the paragraph above)
So how can you help?
Turn the lights on! Pitch black does not really help!
LED colour washes look really bad on camera!
Add a bit of white to the front, even if you have heavy back lighting or colour washes
Front/Side lighting works! Flat washes are boring.
What do I mean about the LED colour washes? Well put on that yellow or blue colour wash that seems to be the “flavour of the month” at the moment. Now stand where the artist will be and take a selfie on your phone? How does it look? Let’s just say not flattering! Compared to the filtered incandescent lamps of old, LED lights produce a really intense colour that might look great from the back of the room but from the pit, on camera, it’s probably one of the least flattering looks there is. Modern camera sensors have a real issue dealing with it and it’s tricky to dial out. Adding some white from the front on the artist makes all the difference and the rest of the stage still looks great from the audience.
Backlight Colour Wash – Straight from the cameraZithulele ‘Jovi’ Zabani Nkosi of BCUC (Bantu Continua Uhuru Consciousness) photographed during the 40th WOMAD (World of Music arts and Dance)- It takes a LOT of effort to get it like this and its still not flattering
Kae Tempest photographed during the 40th WOMAD (World of Music arts and Dance) – A bit of front light makes ALL the difference!
You might think I’m writing this just to make my life easier in the pit. I am but because I want to produce greatflattering photos. I’m not a kid, I’ve been doing this for a while and whilst there are many more experienced photographers shooting with the big names out there, I’ve been doing this in the smallest and largest venues there are for quite a while and the bottom line is, good photos help everyone in the business!
So the next time you light a venue, have a think about those first 3. Any photographers in there? Do your act and the venue that employs you a favour..
I’m scared of keep repeating myself., of producing the same shit over & over whereas every drawing is different – maybe because my emotions have more impact…
More later…
Meanwhile here is a mini project I shot in my studio in Worthing this weekend, all on an X-T2 with the 35/1.4 in Acros.
I’ve been trying to work out why I’m drawing so much and not photographing so much (street / news etc) and walking across waterloo bridge just now I think I got it… Seeing that view that I love I wanted to pull.put my camera but then thought “what’s the point, I’ve shot it so much” and then it hit me…
I’m scared of keep repeating myself., of producing the same shit over & over whereas every drawing is different – maybe because my emotions have more impact…
More later…
Meanwhile here is a mini project I shot in my studio in Worthing this weekend, all on an X-T2 with the 35/1.4 in Acros.
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 .
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.
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!
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 SplitScreen 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.
Julie Edwards-X 