Time Out

It’s Saturday morning and I am on the train to London. This weekend in the BAFTA’s and I will be covering the nominees party tonight before heading over to the Royal Albert Hall for the main event Sunday.

It was with this in mind that at the end of Wednesday I headed over to Eastbourne and Hastings for 2 days “off the grid” (ok, I’ll be honest I looked at my emails twice because I have an important meeting Monday and I needed to confirm the time. I also answered one phone call yesterday about today’s job). I did not look at any social media, thats no Facebook, no Twitter, no LinkedIn, no blogging and no news. For someone who’s social media is a big part of their work, this is, to be honest, quite difficult but I did manage it. (This morning’s catch up was quite intense though!).

I spent the Thursday exploring Hastings, a town I have only really passed through. My plan was to visit the Jerwood Gallery and the Old Town and then spend some time painting (how I relax – see @artyfartyedwards on instagram). To ensure I did not take a work attitude to the photography, I took an old X-T1 with a 27mm Pancake set to extreme Black and White (thats with a Yellow Filter film simulation and +2 on the lights and shadows).

With Storm Erik in full force, the waves were stunning, I guess the shape and position of Hastings explains why the waves here were more impressive than my home town of Worthing.

The aim of the photography was just to please me. I feel that we professional photographers often get so lost in the business of photography, the commercial aspects of the image, practicing techniques to use professionally that we often forget to take time and shot just to please ourselves.

The fishing boats are a very common subject for photos in the town, its easy to see why, there are pictures every which way you look.

Of course with so much fish around, you can expect gulls and here I did switch to the one other lens I brought with me, the 35/1.4. It’s been around for quite a while but it is a favourite of mine despite being slow to focus.

The storm clouds of course do not only bring “poor weather” they can also be responsible for funnelling the light, particularly at either end of the day.

I think these images show that chasing the latest technology, the latest gizmo is not the best way to get lovely emotional images. Taking time, settling into the location, taking it slow, not worrying about what is going on elsewhere and in fact focusing 100% on whats in front of you is far more important!

I have a confession to make though. I spent a while on the beach photographing the waves. I could see what I was capturing and was loving it, in my head I was visualising how a set of these images could be printed and presented and for the first time ever, I had a yearning to be shooting on the medium format GFX (yes despite all I said above!).

So as I walked back to the car in the afternoon light after a relaxing day looking at paintings and creating photos just because…. this little thought raised it’s head… “you really do need to try the GFX you know” … “nothing to do with business you understand.. just because“..

P.s. The thought did not last long… I spent the next day painting and not worrying about the business of photography.

P.p.s. I will try the GFX once I get a suitable moment… maybe on my next time out off the grid…

Hyde Park in Classic Chrome

Since upgrading to the X-T2’s my X-T1 has become my standard “walk around” or “sanity” camera with the 35/1.4 fitted (as I also sold on my X100).

Most of the time my walk-around’s are set to Monochrome as I still really love the way it cuts straight through to the essence of a scene, letting the light and composition “speak”. I feel you really have to nail these two aspects to make a Black and White image really work but it’s clear from comments that quite a few [fellow press photographers] feel that its an “easy way out” or a way to disguise shortcomings in a colour image. So recently I have switched my walk-around to colour, well I say colour, sort of colour – the Fuji Classic Chrome film simulation. When this film simulation was first added to the cameras a few years back it was really overused but now the Acros simulation has been added and Chrome being a few years old, it’s over use has diminished.

As always my “walk-arounds” are set up to shoot JPG Fine only and I have also set both the Hi-lights and Shadows to +2 for a really contrasty look. Set this way the shadows do really block up a lot but I kind of like the look.

One of the places I shoot often is Hyde Park as I walk through. Today the mixture of clouds and strong light pushed the contrast further. The images were downloaded through ShutterSnitch over WiFi and edited on the iPADPro in Lightroom Mobile where I mainly pushed the curves further, added clarity and a vignette.

: The formation of the blue boats in relation to the tower block, along with the dark trees and contrasty sky took my eye here.

: Here I pushed the sky a little further with a graduated filter in LR but again I really like the layers and mood of this with the boat contrasting against the cafe which contrasts against the trees and sky.

: Diagonals and Contrast. Its like a Monochrome image – but its not!

: This tunnel always reminds me of the “Death Wish” series of films with Charles Bronson (filmed in Central Park, NYC).

: Running in and out of the shadows.

Having an X-T1 as a walk around is kind of nice – now all of my cameras are basically the same format with mostly the same controls and handling, but being able to change what comes out of them in terms of images is really powerful aspect of the Fuji system. Why not give it a go next time you go for a wander?

IPAD (Pro) Workflow

Its been quite a while since my original iPad workflow post. Software has improved and the speed of the iPad Pro has totally changed the game so of course, my iPad workflow has moved on quite a bit.

The first stage of my workflow continues to be ShutterSnitch. In my opinion this is still the fastest, most reliable method of using the WiFi connection to get the images from the Fujis on to the iPad. When I am sending just a few images (or sending a few at a time as a job progresses) , I can select on the camera and transfer individually via WiFi with ShutterSnitch instantly saving the images to the iPad Camera Roll. The problem comes when I have Job that involves many hundreds of images, all of which have to be looked at, selected then basic edits made, metadata (caption etc) added and sent. WiFi is just not fast enough for this many images. This is the problem I faced when travelling to Cannes for the annual film festival.

As I was flying and would also be carrying my kit most of the day I really wanted to keep weight to a minimum so I decided to stick with the iPad and develop a workflow that would work.

My iPad is a 256GB/4G model and so has more storage than my old MacBook, even so I was paranoid about storage at the start and wanted to ensure the iPad only contained the images that were “keepers” so my workflow actually started with the camera configuration. I decided to shoot JPG only on to 64GB cards in both slots – slot 1 as the primary storage and slot 2 for backup. At the end of each job (or day) I would ingest the images to the camera roll from the slot 1 card using the standard apple camera connection key. The card was always wiped after ingest. The card in slot 2 remained in place, building a backup of all the image files, only being switched out to my suitcase as it became full. (Note: RAW image files could be used but would be slower).

When working on a full Laptop/Desktop it is common for most press photographers to use Photomechanic to select and caption first before transferring only their “keepers” to their editing software (photoshop or Lightroom). Because of the way iOS protects files and stops apps interacting on the same data, my workflow is actually the reverse. I use Lightroom mobile to select and edit before captioning and sending in PicturePro.

Lightroom Mobile (on Creative Cloud).

There are a number of key settings / stages to make this reasonably quick.

Mobile data: Ensure “sync on mobile data” is turned off. (Tethering to a phone brings a whole different set of issues as you really do not want LR to try and synchronise all images until back at base). An iPad on its own 4G connection is a real advantage here and simplifies the sending process.

Collections: Keep a collection per job or day.

Auto Add: Use the … next to the collection name to enable Auto Add to the relevent collection.

Switching to split view with the photos app running next to Lightroom as the images ingest from the card, they will be added too Lightroom at the same time (see you can multi-task on an iPad).

Speed Flagging: This enables images to be picked or rejected with an upward or downward swipe whilst in the editing screen.

Once the images are ingested, the card is cleared and put back in the camera. I switch to single image view and enabled a filter on the collection to show only unflagged images. I then swipe down to reject, skipping those I am not sure about until i get to the first image I want. Before I swipe up to pick it, I complete the basic edits – crop, curves, levels etc. and then holding the finger (or pen) on the screen I use the pop up to copy the settings (all settings excluding crop). Only then do I swipe up. The process then continues, swiping down to reject and pasting the edits, (hold down again), cropping then swiping up to pick going through all of the images.

Once at the end I know I have all the selects and rejects. I switch to the “All Lightroom Photos” selection, set the filter to “Rejected” and delete all the images.

The next stage is surprising! I go to the camera roll and delete all the images just ingested (it’s ok! They are held within Lightroom now – its made copies in its database).

I now export the images from Lightroom to the camera roll (this is a slow process as there is a limit on exporting 15 at a time), selecting the maximum size option. This leaves just the edited selected images on the camera roll ready for captioning and sending.

PicturePro

In PicturePro I make extensive use of base templates. Upon opening the correct image folder / date should be selected.

Load the metadata editor on the first image and load the relevant template and edit the data to suit. I then copy the data before using the save and next button, paste in the data from the last image, tweak and move on. Each image that is annotated has a small icon on its lower centre (in grid view).

Once done I select the annotated images (hold to select a batch, double finger tap to add single images to the selection) and export using the FTP panel, resizing, renaming and saving the images in relevant folders as they are transmitted. Each image that is exported has a small icon on its lower right (in grid view).

Once Back at Base
PicturePro has stored all the captioned and edited images in folders which can be accessed via FTP. Lightroom will synchronise all the original images, with edits via Creative Cloud to the desktop machine. (But no metadata on them). I add the PicturePro images to my Lightroom to sit alongside the originals which I leave uncaptioned because I know I can find them via the captioned exported versions.

Conclusion

There are obviously advantages and disadvantages to this workflow. I find the iPad an extremely nice tactile thing to use, using the Pencil and Keyboard I can work on my lap, on the floor, seat, basically anywhere, much easier than if I were balancing a Laptop. Using the pencil on the image itself as a tablet is a joy with the keyboard folded back out of the way until needed for captioning. Batch editing is minimal though, I cant apply the same edit to 100’s of images in a single manoeuvre but I dont see this as a huge issue as I normally have to look at each to crop it as I want so pasting the settings as I crop does not really slow me down. Its always pointed out that iPads have no colour management. Correct, the screen cannot be calibrated but its a mobile platform, it’s not used in a nice controlled environment. Every day I am out shooting and editing in different light with differing ambient levels and colours, so is this really the issue many flag it to be?

Comparing the captioning between PicturePro and Photomechanic the main loss again is batch processing. In PicturePro I do have to check and paste the metadata into every single image but this does have the advantage of ensuring I think about every caption. At the time of writing PicturePro doses have one or two issues. It will crash every now and then but with this workflow I do not lose any work – its more just having to restart the software (which is almost instantaneous). PicturePro also has image editing which I have used in the past for small batches when I need to be very fast but a bug affecting only the iPad Pro means I am waiting on a software update before I can do this again.

This post has been a long time coming, the workflow has been tweaked and will continue to be but it was working this way that I sent almost 3000 images over 10 days from Cannes so I think it works. let me know your thoughts, comments , questions.

Julie

BAFTA’s 2017 – A monochrome slide show

Last Sunday (the 12th) was my annual trip to photograph the stars arriving for the British Academy Film Awards which, this year, took place at The Royal Albert Hall. As usual I was shooting on on Fujifilm X-Series, mostly the X-T1 and 50-140 with some on the 56mm mounted on a second X-t1. The wide images are using the 14mm mounted on an X-Pro1.

One interesting fact is that despite shooting over 1700 images on the 2 X-T1’s, I only changed the battery once in each camera (and the 50-140 body shot way more than the 56 body). In very cold weather, thats not too bad

Normally I would post a series of images here but I think its just easier to pass you over to my main side and a slideshow.

Back on the Red Carpet

Last night I was back on the red carpet for the Fifty Shades Darker UK Premiere at ODEON Leicester Square.

All shot with Fuji X-T1 mostly with the 50-140/2.8 but the wides were with the 16-55/2.8

Here is a small showcase of images: http://www.julieedwardsphotography.co.uk/fiftyshadesdarkeruk

Working: Gig Photography

I’m still working on the White Balance post; so much I want to cover in it, I will probably have to split it into two.

To keep the blog rolling though, here is a quick look at my work last night. I was at the Brighton Dome to cover City and Colour with Lucy Rose as the support.

Browsing around the inter-web as we do I come across lots of discussions about “Can’t use this camera for so-and-so”, “thats the wrong lens for that”, quite often with no follow up argument (yes trolls). Quite often the discussions are about using Fujis in low light or in Gig situations.

Last night I started with the 16-55/2.8 & 50-140/2.8 “Red Label” lenses getting the basic shots, for the 3rd song I switched to the 56/1.2 basically because I had not used it in a darkish gig and wanted to see what I could get…

Lucy Rose plays Brighton Dome on 18/02/2016. Picture by Julie Edwards.
X-T1, ISO800, 1/180th @ F1.2, Astia Simulation

X-T1: Firmware 4.3 Update

Amidst the fuss over the launch of the X-Pro2, the latest firmware update to the X-T1 has come and gone almost unnoticed.

Yes, this was just a re-issued of the ill-fated 4.20 release (which had a slight bug in it) but try to find a review or thoughts on release 4.20 or 4.30 and you will struggle.

There are a few tweaks to the MF/AF workings in this release (which to be honest, I have not got my head around) but there are also 2 major updates that will really help me.

The flash now works in the continuous drive modes. I.e. I can use my flash at 3 and 8 frames per second. That is a huge thing in press work (just picture all the news clips featuring press photographers working, you will understand). I can now remove this item from my wishlist.

The record/video button on the top face can now be assigned a function. Ok, I know there are lots that can be assigned already and, if I don’t have it on a button then I can put it in the Q menu. I change the white balance (WB) a lot, preferably shooting a custom white balance (yes, this is still a planned post) and the white balance option in the Q menu does not offer the option to shot a new WB; only the option to select existing. However setting the “Video Button”, now known as FN7, to WB displays a small menu and allows me to shoot a new custom WB. Not having to dig in the main menu for this is a another step forward (and to be honest, a little similar to the way my old Nikons worked).

My Fn buttons are now set as follows:

FN Button Settings: Film Simulation. Direct Focus Point Control and WB.

With small steps we can travel a great distance and this new firmware is another small step. Not updated your camera yet? Head over to the X-T1 firmware page to download the latest.

I’ll sign off with an image from last night’s job..

Cally Jane Beech arrives on the pink carpet for the European Premiere of “How To Be Single”. Shot with a custom white balance 😉

The Names BOND.

Just a quick post of some of the work I shot last night at the World Premiere of the latest Bond film SPECTRE. Really just to give an idea of typical work and results. Not really a blog post, just a “did this with these cameras”

Apart from one shot, they were all shot on the X-T1’s into JPG in Astia film simulation then slight edit in Lightroom. Further details under each shot.

Daniel Craig: X-T1/50-140@F2.8

Monica Bellucci : X-T1/50-140@F2.8

Lea Seydoux: X-T1/50-140@F2.8

Lea Seydoux & Monica Bellucci: X-T1/50-140@F2.8

Ben Whishaw: X-T1/50-140@F2.8

Dame Shirley Bassey: X-T1/50-140@F2.8

Sam Smith: X-T1/55-200@F4.8

Joan Collins: X-T1/50-140@F2.8

Lea Seydoux & Monica Bellucci: Wide on X-Pro-1/14mm@F4

The Long Problem: Part 2

Footnote: Just as I was publishing this the Metabones adaptor was delivered. If the packaging is anything to go by, this is going to be a very good investment. Thats how I finished off The Long Problem: Part 1.

The adaptor in its (superb) packaging next the the Nikon 300/F4

I have now had this adaptor for just over a month and have used it on a number of jobs. Cutting to the chase, it lives up to it’s supurb packaging giving a secure reliable mounting for (in my case) the Nikon 300mm/F4.

Corporate Golf Day. X-T1/Nikon 300/F4/ISO1000

In addition to providing a more secure and reliable mount, the adaptor differs from the lower cost items by its graduated and ‘geared’ aperture control. All of these adaptors ‘adjust’ the aperture using the ‘blade’ that potrudes from the older F-Type nikon lenses (and not the newer electronic control of the newer lenses and hence unable to control the aperture on the newer G-Type lenses). The lower cost products link to this blade directly meaning real control is almost impossible with the lever having such a short throw. The metabones product seems to be ‘geared’ having the minimum to maximum about of almost 1/4 turn with a numeric scale marked, (I assume) to correspond with full F stops, meaning full control is possible (if not very precise).

Sadiq Khan at the Labour v Lobby XI Football Match on 27/09/2015 at Brighton and Hove Albion FC’s American Express Elite Football Performance Centre. X-T1/Nikon300/F4/ISO1250

This results in the lens being far more usable (either in aperture prority or full manual modes). In either of these modes the EVF (on the X-T1) gives the correct exposure feedback (as you would expect) meaning the less precise aperture control is manageable.

Showing the aperture scale

Focusing the Nikon 300 in this setup is tricky and definatly requires the 2x zoom in the EVF offered by the F.A. Focus Assist button. I also (still) find it far more sensitive to “camera shake” than using the lens on a Full Frame DSLR, I could try and compare this with using the lens on a Nikon D200 (cropped sensor Nikon) but it’s probably not worth the effort.

Corporate Golf Day. X-T1/Nikon300/F4/ISO1000

The colours are definatly slightly different through this lens compared to the Fuji products but it is possible to get perfectly good, sharp images.

Party Leader Tim Farron MP takes questions from the delegates at the Liberal Democrat Autumn 2015 Federal Conference. X-T1/Nikon300F4/ISO4000

Overall it’s definatly a usable, although slightly slower to use, solution until the Fuji long lens is released.

300/F4 mounted on the X-T1 via the adapter with the 50-140 shown alongside for size comparison.

16-55 / F2.8 : A true workhorse

If you have read earlier posts you will know they are not that long and when it comes to kit its more about “can I achieve what I need to achieve” rather than pixel-peeping sharpness reports. This will be the same…

Image: 16-55 Mounted on X-T1 with battery grip. 18-55 alongside for comparison

16-55 with 18-55 alongside for comparison

The “standard” zoom focal length is the staple of most press photographers work, particularly in the entertainment sphere (with media walls, parties, tight sets and spaces). Since having the Fujis I have been using the 18-55 / F2.2-4 . Its good, in fact as a kit lens its great but to be honest, I HATE variable aperture lenses – most of the time my flashes are on manual and so altering the exposure as I zoom is a real pain, outside this is less of an issue (but I still hate them on principle 😉 ).

16-55 Mounted on X-T1 with battery grip. 18-55 alongside for comparison

I have had the 16-55/2.8 for 2 weeks and run 2 jobs through it, delivering 800 images to clients and press during that time (that does not include the deleted ones or the ones I don’t like), thats delivered images from this lens (its almost 2000 images counting all lenses). So although I have only had the lens for 2 weeks, I think I have a pretty good feel for it.

16-55 Mounted on X-T1 with battery grip. 18-55 alongside for comparison

You can see from the images it is far bigger than the 18-55, its (obviously) heavier and feels really solid in the hand. Much like the 50-140/2.8, you feel this is a lens that will last a while, will take a few knocks and keep going (unlike some of the “plasticy” feeling lenses that a number of manufacturers are producing now to reduce costs).

16-55 Mounted on X-T1 with battery grip. 18-55 alongside for comparison

Mounted on the front of the X-T1, the balance is a little front heavy but add the battery grip and everything feels right again, there is a certain weight in your hands and the the zoom ring feels lovely and fluid, not too lose, not too tight. With this setup, you loose a little of the weight advantage over DSLRs but its still lighter than my old Nikon/24-70 combination.

If you have used other Fuji lenses the performance is as you would expect (to my eyes) tack sharp with the colours & contrast being spot on.

Atmosphere at Festival No.6 on 05/09/2015 at Portmeirion, Gwynedd

I spend a lot of time pointing cameras at light sources (you can’t beat a bit of back lighting) and I am pleased to say, it handles this really well. It does not flare nicely like the 56/1.2 it just produces little “rainbow” flares – this is the worst one I got.

Atmosphere at Festival No.6 on 04/09/2015 at Portmeirion, Gwynedd, North Wales. A musician waits in a food queue at night.

Everything Everything plays at Festival No.6

So to sum up, I really like this lens, it feels right, it feels like it will last a long time producing the results I need. Basically its a real workhorse.