Professional Photo - Issue 193, March 2022

THE UK’S ONLY MONTHLY MAGAZINE FOR WORKING & ASPIRING PROS
ONLY
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+EXTRA
CONTENT
VIDEO
LINKS
PROFESSIONALPHOTO.ONLINE ISSUE 193 £3.99
FULL REVIEW PLANNING AHEAD
CANON SURVIVAL
EOS R3 SYSTEMS
A legend in The art of crisis
the making? management
CHANGING TIMES INDUSTRY BODIES
WOMEN IN TAKE A LOOK

CONTROL AT THE BIPP!
The challenges The reasons why it
facing female could pay to sign up
professionals
INTERVIEW
Albert Watson
An exclusive first look
at his amazing new
graphic art project
18-PAGE AUDIO SPECIAL OUR ESSENTIAL GUIDE TO TOOLS & TECHNIQUES

EDITOR’S CHOICE | ISSUE 193
WE’VE GOT A bumper digital issue to

Welcome Demonstrating just how much things THE UK’S ONLY MONTHLY MAGAZINE FOR WORKING & ASPIRING PROS COMPETITION
share with you this month, the biggest have changed in the business we’re in GET MENTORED
BY SANJAY JOGIA!
YOUR CHANCE TO
RECEIVE A PERSONAL
we’ve had since I took the magazine on over the past few years, we’re running an
PORTFOLIO REVIEW
PROFESSIONALPHOTO.ONLINE ISSUE 193 £4.99
FULL REVIEW PLANNING AHEAD
CANON SURVIVAL
three years ago, and that’s given me a 18-page section this month that covers EOS R3
A legend in
the making?
SYSTEMS
The art of crisis
management
huge amount to talk about! all things audio, which includes a round-
up of some of the intuitive and well-
First off I’m delighted to have landed an priced products that are available right CHANGING TIMES
WOMEN IN
CONTROL
INDUSTRY BODIES
TAKE A LOOK
AT THE BIPP!
The challenges The reasons why it
interview with one of my photographic now, plus some essential techniques and facing female
professionals
could pay to sign up
heroes, namely Albert Watson, who is tips. As video grows in importance this is INTERVIEW
still working as hard as ever and who an area most of us can’t afford to ignore.
Albert Watson
An exclusive first look
at his amazing new
graphic art project
has kindly shared with us a selection of 18-PAGE AUDIO SPECIAL OUR ESSENTIAL GUIDE TO TOOLS & TECHNIQUES
images from his hitherto unseen Wall Also this month we’re profiling the BIPP
ON THE COVER
series. It’s an honour to be showing them in our series on professional bodies,
We’re honoured to have a
for the first time and don’t miss what which provides some fascinating
previously unshared new
Albert has to say about this project. insight into this respected and historic work, ‘Charlotte Floussaut,
organisation, and we’re also reviewing Wall Series, 2022’ by Albert
We’re also marking International the awesome Canon EOS R3, one of the Watson on our cover this
month, and you can read
Women’s Day by showcasing the most formidable launches of recent years.
our far-reaching interview
excellent SheClicks group, and we’re Quite a mix, so enjoy the read! starting on page 12.
talking to some of its professional
members to get a feel for how things are
these days for those working in what is TERRY HOPE
still such a male-dominated industry. EDITOR
PORTFOLIO ALBERT WATSON | PORTFOLIO | COMPETITION
open, I can make everything effectively WIN a Mentoring Session

Absolutely with Sanjay Jogia!
When it was
launched late last
year the Canon EOS
The Canon EOS R3 is a fast
weather-sealed camera that’s
ideal for tackling sports, and you
can shoot RAW 14-bit stills at up
to 30fps if you feel the need.
Albert The peerless Albert Watson is still

working as hard as ever in his
We’re offering Professional
Photo readers the chance to
win a two-hour one-to-one
portfolio review and mentoring
session with top wedding
specialist and Canon UK
R3 represented one
of the most exciting
new models for
pros in some time.
Adam Duckworth
sees whether it
lives up to the hype.
eightieth year and we caught up Ambassador Sanjay Jogia.
for an update plus an exclusive
look at his latest graphics-
TESTED
inspired fine art project.
E’RE ABOUT TO head into the
WORDS TERRY HOPE IMAGES ALBERT WATSON
W 2022 wedding season, and

what better way to prepare
yourself for an exciting year
ahead than to have the chance of an The Canon EOS R3
I
ABOVE: Albert T’S ALWAYS SUCH A PLEASURE catching up exclusive two-hour one-to-one online
Watson with with Albert Watson. While some photographers portfolio review and mentoring session WORDS AND PICTURES ADAM DUCKWORTH
Hasselblad, 2009.
might be hard to extract a coherent answer from, with one of the country’s leading experts
RIGHT: Chloe Albert always delivers insightful responses that in this genre, Canon UK Ambassador
F YOU’VE BEEN waiting for a full- highly detailed, giving a view that’s just like With a larger throat and more contacts admitted it is no longer developing DSLR
cards, and files are duplicated to ensure
I
Purse, 1979. perfectly complement the images he’s discussing. He’s Sanjay Jogia? A multiple award winner, Canon’s EOS R3 is a mirrorless model
frame Canon mirrorless camera an optical viewfinder but with the benefit between the lens and body than the and EF lens technology, so you know the
always delighted to pass on knowledge to help those Sanjay’s outstanding work has earned that offers traditional handling and a
that has the ruggedness, pro-style rugged weather-sealed body. of real-time exposure simulation if that’s 30-year-old EF mount, the RF upgrade writing is well and truly on the wall.
coming through the ranks and he clearly has just as him international acclaim, and he’s
handling and, most importantly, what you’re looking for. And, of course, delivers the opportunity for faster glass, The 30fps rate is only available when
much passion for his craft as he’s ever had, as he’s hugely respected by his peers as a trainer
speed to tackle the harshest of professional it’s sure to be, because nobody willingly faster AF and more advanced image using the electronic shutter, while the
currently working flat out on a number of fronts as he and educator, making him ideally placed
jobs, then the good news is that it’s finally chooses to wait until after they’ve taken stabilisation. It also allows AF to work maximum is 12fps in mechanical shutter
approaches his eightieth birthday in the summer. to give our lucky winner a wealth of
arrived. The EOS R3 is the first Canon to use a photo to see if the exposure is correct. down to lower light levels with improved mode – something the rival Nikon Z 9
I caught up with Albert during a brief lull in the invaluable advice and feedback.
all of the latest mirrorless technology inside That’s back to the old world of DSLRs…. subject recognition. That’s why Canon has doesn’t have. If you’ve tried working with
action in his busy New York studio, and it was a chance ability to handle and store huge files is all
a large, pro-body style camera that handles To review your work, you don’t need to an electronic shutter while panning then
for him to reflect on the past year or so of Covid chaos, What’s on offer? exactly like a traditional pro DSLR. form some makeshift sunshade over the you might be concerned that vertical lines
to talk through the changing nature of his work and to Put your name into our digital hat and you
It isn’t just ‘as good’ as a pro DSLR, such LCD to get an idea of what you’ve shot. can get skewed due to the way the sensor
share some background on his latest graphics-based allocate each other strictly defined duties. could be in line for a very special prize,
as the EOS-1D X Mark III, but it takes that Just put your eye up to the viewfinder reads the information. But the readout
project, which is ongoing and is about to be shared for one that comes with the potential to lift How to Enter level of performance a step further, offering and see it in full, gloriously sharp is so fast on the EOS R3 – thanks to that
the very first time anywhere with Professional Photo your wedding and portrait photography TO BE IN WITH A CHANCE of winning an online wedding photography
the ability to rattle through full-quality colour. You can review your images stacked sensor – that there is virtually
readers. All very exciting, and I couldn’t wait to dive in. to the next level. Sanjay’s company, Eye mentoring session with Canon Ambassador Sanjay Jogia simply head to
14-bit RAW stills at up to 30fps with more without taking your eye from the no rolling shutter whatsoever in stills or
First off, what’s going on in Albert’s working Jogia Photography, specialises in wedding the web address below or scan the adjacent QR Code. Fill in and submit the
advanced AF. Furthermore, thanks to its viewfinder if you want and, once video. But the mechanical shutter is still
life right now? “I’ve recently finished several Vogue guarantees the fullest and most efficient photography of the most demanding online entry form between the opening date of 10am GMT on March 1,
stacked sensor, there is no viewfinder you’ve got used to this way of onboard if you feel you need it.
stories in Paris,” he reports, “and some of these have kind, destination weddings all over the 2022 and closing date of midnight GMT on March 31, 2022 and you will
blackout or lag at all, which is quite an working, you can be sure there will Sync speed with the e-shutter is
just been published. I enjoyed working on them and world, along with Indian weddings, and be entered into a free prize draw. Terms and conditions apply. Only one entry
impressive performance. be no going back. 1/180sec, and this is one area where
haven’t been able to do this for a while because of get cancelled, while there’s also the issue now that he’ll be using the considerable expertise per person. UK 18+ only. Internet access is required for entry.
In fact, now Sony has finally licenced its DSLRs have the advantage since many
Covid of course, which has made life very difficult. the printed fashion magazine market has largely he's acquired over the years to deliver ❚ For full terms and conditions please visit www.professionalphoto.online/
I think we had about six shootings in a row that we collapsed. It could cost in the region of $40,000 to constructive feedback and valuable sanjayjogia and fill in and submit the entry form you'll find there.
award-winning stacked sensor technology Moving to Mirrorless have the ability to sync at 1/250sec.
to Canon and Nikon, it means these two old to shoot at 30fps then you’d have so much for example – or for weddings, theatre, If you’ve not been a convert to However, even here it’s not impossible
basically couldn’t get off the ground for European pull everything together and the budgets just aren’t its own. “It’s a means of future proofing insights on our winner’s portfolio.
rivals can finally build cameras capable of flickering inside the viewfinder that it would events, press conference or shooting stills mirrorless previously then the EOS for a mirrorless to go faster – Sony’s A1
magazines because of the travel restrictions. there any more for these big overseas shoots. Some they’re benefitting substantially from the “The first thing we look at when
being fast enough for genuine professional be unusable without giving you a migraine. alongside a film company on a set. You can R3 could be just for you, since it has will sync at 1/400sec for example.
“When you’re shooting for a magazine such as magazines are even requesting that the photographer reviewing an image is the impact it storytelling, framing and composition.” selection. The second part of the session
sports, wildlife, news and event use. The The EOS R3 offers clean, unobscured throw away your sound blimp forever. the traditional handling and deep, Compared to the high-megapixel
Vogue you have to put together a team of people, such should do the job for nothing! and if I have 8K video files to work from creates,” he says. “Then, when this Sanjay will also spend time talking consists of an informal conversation with
stacked sensor reads out much faster than viewing at all times, whether you’re While shooting at 30fps, the camera weather-sealed body and ruggedness Sony A1 or Nikon Z 9, the biggest
as models, stylists, hairdressers, assistants and so on, “For me it’s not such a big deal because I do have settles, we can go beyond this and start through how images within the portfolio Sanjay that will focus on coaching and
a conventional sensor, which means there shooting in total silence at 30fps – performs 60 AF and AE calculations per of the 1-series Canon pro DSLR cameras. potential issue with the Canon EOS R3
so you can end up with ten or more people involved, a lot of other things going on right now, but for those to look at such things as colour, focus, work together, and he’ll be adding his advice on the elements you would like to
can be faster AF, faster frame rates in stills something no DSLR can do - or recording second, while the viewfinder refreshes And you can use your old EF-mount glass is that it packs just 24.1-megapixels –
and putting that all together with a pandemic going who are trying to break into the industry it’s a really different framings to work with.” ❚ lighting and the technical details of the constructive criticism and advice and develop further, or explore on the Canon’s EOS R-Series cameras feature a larger throat,
OPPOSITE: and video and, crucially, zero lag or blackout video. That makes it ideal for sports where at up to 120Hz for a stunning view. The via an adapter until you can afford to allowing for more contacts and the opportunity for less than half of both its rival mirrorless
Gigi Hadid, 2019. on wasn’t easy. Sometimes everything would just difficult time. Things are changing so fast. For › ❚ picture and then its strengths in terms of suggesting ways of strengthening the next part of your journey.
viewfinder and EVF are bright, clear and flagships, which are both fast and offer
when shooting. If you could ramp up a DSLR silence is golden – like golf or tennis upgrade to the superior RF lenses. faster glass and better AF and image stabilisation. ›
12 | PROFESSIONAL PHOTO ISSUE 193 PROFESSIONALPHOTO.ONLINE PROFESSIONALPHOTO.ONLINE ISSUE 193 PROFESSIONAL PHOTO | 13 PROFESSIONALPHOTO.ONLINE ISSUE 193 PROFESSIONAL PHOTO | 61
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Page 12 Page 67 Page 86
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PROFESSIONALPHOTO.ONLINE ISSUE 193 PROFESSIONAL PHOTO | 3

Contents
6 The Saturday Man
Issue 193
Image ©Gary Hill FBIPP
Peter recollects Maradona’s wait to

collect the World Cup in Mexico 1986.
8 Pro News
The welcome return of the Olympus
OM-1 and a brilliant SWPP Offer!
12 Portfolio: Albert Watson

We spend time with one of the all-time
greats, share some of his outstanding
work and reveal his latest project.
69
BUSINESS
64 Weddings in Motion
Catching up with a couple who are
offering video to their wedding clients.
12
67 COMPETITION!
22 Project: Albert Watson Your chance to win a two-hour
A second helping of Albert, as we look at mentoring session with Sanjay Jogia!
his epic expedition around the Isle of Skye.
69 Spotlight: The BIPP
PRO TALK Continuing our series, this month
we take a detailed look at the British
26 Changing Times Institute of Professional Photography.
We’re talking to professional female
photographer members of SheClicks.
74 Lisa Devlin
Killer advice from Lisa that’s designed to
32 The World According to Dench make sure you don’t suck at selling.
Dench bravely shares some of the classic
rejections he’s received with us.
56
TECHNIQUE
52 The Move Towards Motion
– Conducting an interview 76
If you aspire to shooting commercial
videos this is how to film interviews.
76 Pro Academy – Underwater
56 Secrets of Staying Simple Are you up to taking on the latest
Paul Wilkinson demonstrates you don’t challenge in our Pro Academy series,
need to line up a bank of lights in the which involves heading underwater?
studio to achieve a striking portrait.
80 Time to Turn Pro
60 Build Your Own Bokeh! Louisa Peacock tells us how the systems
Using Affinity Photo software to create she had in place for her business saved
beautiful bokeh in post-production. her when she became too ill to work.
4 | PROFESSIONAL PHOTO ISSUE 193 PROFESSIONALPHOTO.ONLINE

WELCOME TO THE BUSINESS | TALKING HEAD
AUDIO SPECIAL
OUR MEGA 18-PAGE audio section
has input from many of the big Take time to make sure
players in the arena. We’re also
taking a look at why audio is now you’re welcoming to all
such a key skill and we’re rounding
T
up some of the top products in the
HERE ARE A couple of stories acceptance that women could be
market in our Buyers’ Guide. we’re running this month just as up to speed on technical
that made me stop and think matters as their male equivalents.
36 that perhaps all of us should
take just a moment to ponder on We heard from female
whether we’re doing enough to photographers finding themselves
be welcoming to those working working on just the low budget
alongside us in this business. jobs and from others who were
exasperated by ‘mansplaining,’
To mark International Women’s when all they asked for was some
Day this month we approached the solid technical advice. Attitudes
excellent SheClicks group to find are changing, but not fast enough
out from some of the professional in some quarters it seems.
photographer members - and
it’s not just for pros by the way - The other story concerned our
how they were finding life in the spotlight feature on the BIPP this
GEAR
modern working environment. month, a highly respected body
84 Trading Up: Back-Up Cameras While everyone we spoke to was with a long and proud history.
This month we’re taking a look at trade running a vibrant and successful When Martin Baynes took over
ups to help you find the perfect B-Cam.
business, we were told tales as CEO a couple of years back
aplenty about being patronised, it was realised that, for many,
86 albeit sometimes unintentionally, the photographic industry was
allied to a general lack of perceived as being ‘too white,
middle class and male.’ To
We found a answer this criticism an Inclusion
“
general lack of Committee was set up, with the
aim of encouraging change. It’s a
acceptance that great initiative, carrying the hope
women could be that this great business of ours will
in future be more welcoming to all.
up to speed on
technical matters. ” Terry Hope – Editor
86 Tested: Canon EOS R3 ❚ Amy Bateman lives on a farm in Cumbria and is now a successful pro: Page 26 © AMY BATEMAN
Hugely anticipated and finally here,
is this the camera that will make
professionals take mirrorless seriously?
92 Tested: Mid
Range Zooms
Head to head between
the Tamron 28-75mm
and Sigma 24-70mm,
both of them rivals to
the more expensive
Sony 24-70mm G-Master.
PRO TALK
96 Things I Wish I’d Known
How Rachel Mullett used professional
training to overcame her self-doubt.

IN ASSOCIATION WITH AFFINITY PHOTO
PREPARING TO PRESENT THE

THE SATURDAY MAN
WORLD CUP, JUNE 29, 1986

It’s the final of the World
Cup, Argentina have just
beaten West Germany 3-2
and, as the moment arrives
when the cup will be handed
over, Diego Maradona is
waiting to collect.
S AN OFFICIAL photographer for FIFA Peter
A Robinson was closely associated with the

World Cup and during the 1986 tournament
in Mexico he was detailed to cover as much
of the action as possible, from the first game through
to the last. This involved shooting the regular action,
but Peter also enjoyed looking around the edges of
what was going on to find out of the ordinary images.
“Argentina had just beaten West Germany with
a late goal,” Peter recalls, “but I couldn’t stand
around shooting the scenes out on the pitch as they
celebrated their victory. I knew that I needed a shot of
the cup itself being handed over, and so I needed to
quickly get up to the presentation balcony.
“Waiting to hand it over were the FIFA president
João Havelange and Miguel de la Madrid, the
president of Mexico. When the leader of a country
is involved, there is always an extra risk for ordinary
photographers like myself because suddenly their
entourage will arrive with orders to get a picture that
can be used for political purposes and you just find
yourself pushed out of the way.
“On this occasion I had prepped myself because
I knew how important the moment was. I’d fitted
my 28mm so that I didn’t have to stand too far back
and I’d loaded a fresh roll of film to ensure I wouldn’t
run out of frames at the wrong moment. I took this
picture just as Maradona reached the top of the stairs,
and it was as much to get myself ready and make
sure that everything on the camera was working as
anything else. As usual it was a shot that most other
sports photographers wouldn’t have bothered with.
“However, looking at this picture now and with
the benefit of hindsight there is so much that can be
read into it. There appears to be a discussion going on
between Havelange and de la Madrid regarding who
is actually going to be handing the cup over, while
Maradona, one of the greatest footballers of all time,
is standing there waiting for his moment. It
was a little piece of history in a way.”
❚ thesaturdayman.com
Images on The Saturday Man website are

scans from original prints or negatives,
all prepared and finished using Affinity
Photo. It’s Peter’s choice of imaging software, selected due
to its intuitive nature, comprehensive tool set, competitive
pricing and the fact that it doesn’t require a monthly fee.
Available from affinity.serif.com/en-gb/photo/ price £47.99.

PRONEWS
NEWS | VIEWS | EVENTS | EXHIBITIONS | NEW GEAR | COMPETITIONS
NEW FLAGSHIP
WELCOME BACK THE OM-1!

OM SYSTEMS HAS revived the name of one improves on basic performance.
of the most famous cameras in Olympus’ Launched alongside the camera are
history, by badging its latest pro-minded two new lenses, the M.Zuiko Digital ED
mirrorless model the OM-1. Those of a 12-40mm f/2.8 PRO II (35mm equivalent
certain vintage will recall the original, 24-80mm) and M.Zuiko Digital ED
which created shock waves when it was 40-150mm f/4 PRO, (35mm equivalent
unveiled as the world’s smallest and 80-300mm). Both lenses feature their
lightest 35mm SLR back in 1972. The maximum f-stop throughout the range,
modern namesake aims to tap into that
heritage, while there’s also a touch of
poignancy involved, since it’s also been
confirmed this will be the final time the
Olympus name is featured on a camera. with outdoor nature and adventurer
Destined to be the new OM System photographers firmly in its sights, the
flagship model, headline features include re-born OM-1 meets the very highest
a Backside Illuminated Quad Pixel Bayer IP53 dust and splashproof standard and is
pattern stacked 20MP CMOS sensor, a freezeproof up to -10 degrees Centigrade.
new TruPic X image processor that’s said With one eye on the model whose name
to provide up to 3x faster processor power, it bears, the new camera is also super
AI detection AF along with 1053 Phase compact and lightweight. with the 40-150mm said to be the world’s
detection Cross Quad Pixel AF, high speed OM Systems states that the model most compact and lightweight model of its
sequential shooting up to 50fps C-AF and delivers high image quality that goes way type featuring an f/4 maximum aperture.
up to 120fps S-AF, up to 8EV stops of image beyond the expectation of the MFT sensor All the new products are available from
stabilisation and enhanced video, including size, while claims are also being made that now, with the OM-1 carrying a rrp of
4K 60p and Full HD 240p. the autofocus and sequential shooting £1999.99, and the 12-40mm priced at
In line with its aspirations to be performance of the camera far surpasses £899.99 and the 40-150mm £799.99.
considered a true pro-spec camera conventional models and dramatically ❚ om-digitalsolutions.com
LENS LAUNCH
Tap here to watch an
THE MAGNIFICENT SEVENTH! introductory film about the

new Sigma 20mm f/2 DG DN.
SIGMA HAS ADDED a seventh lens in its I matched lens set for photographers focusing on the suppression of saggital
Series line-up that’s specifically who need both performance coma flare, extremely detailed results
designed to partner and portability in their kitbag. across the entire image are possible,
mirrorless cameras with Remarkably, the 20mm f/2 DG which is particularly important for night
the launch of the all- DN Contemporary is almost sky photography.
metal 20mm f/2 DG DN identical in size and weight to The lens’ advanced optical design,
Contemporary. This ultra- the Sigma 24mm f/2 I series. as well as its Super Multi-Layer Coating
compact, wide-aperture Based on the latest optical and Nano Porous Coating (NPC), ensures
prime lens for E-mount and design technology, the lens very minimal flare and ghosting even
L-Mount systems is said by construction includes three when shooting into bright light sources.
Sigma to be a game changer high-precision glass-moulded This is intended to make it much easier
for mirrorless users needing a aspherical lens elements, one to photograph backlit subjects while still
sharp, wide-angle optic. SLD element and one FLD element achieving punchy, high contrast results.
It’s the fourth I series lens with an f/2 to suppress a range of optical aberrations. The lens is available from retailers from
aperture, joining a 24mm, 35mm and The result is clear and sharp images even now, carrying an srp of £649.99.
65mm, which together make a well- in the extreme corners of the frame. By ❚ sigma-imaging-uk.com

THIS MONTH | PRO NEWS
SPECIAL OFFER!
FREE CONVENTION TRADE SHOW TICKETS!

IF YOU’VE NOT YET booked tickets for the trade show that’s at the heart of the event
three-day trade show that accompanies runs from March 17-19, and features 100+
the eagerly awaited Societies Convention, exhibitors including all the major players in
being held from March 16-19 at the the industry. It’s a brilliant opportunity for
Novotel London West in Hammersmith, professionals to rub shoulders with the key
then the regular date has passed for free personnel behind the latest photographic
tickets and they’re now priced at £10 each. equipment and to get properly hands-on
Despair not however! We’ve managed with some of the latest gear.
to negotiate a special deal that enables Head to the SWPP website to book
Professional Photo readers to continue to tickets and to catch up on all the latest
book free trade show tickets up until March news regarding the wide range of events
14, specially extended for us from February Alongside four days of Masterclasses, that will be taking place.
28. All you have to do is to enter the code Hands-On Superclasses, Qualification ❚ thesocieties.net
PP10 and this same code will also save you Assessments, a one-day Business School,
10% on the cost of all tickets all the way 20x16in Print Competition Judging and a Tap here to book your free tickets to
The Societies Convention Trade Show.
until the date of the Convention itself. Presentation evening on the Friday, the
INNOVATIVE L BRACKET
AMAZING GRACY
USERS OF FUJIFILM’S popular GFX 100S and audio or in-camera video playback.
50S II medium format cameras now have There’s also a unique extendable base,
a new L-Bracket accessory to work with enabling the use of tethering cables in
– carrying the colourful name of Gracy - portrait orientation, while the vertical
courtesy of 3 Legged Thing. aspect of Gracy has an open profile which
Gracy has been designed to perfectly fit provides users with access to all the ports
the contours of both cameras, ensuring located on the side of the camera.
full access has been provided to the side The new bracket is available from now in
ports, battery door and memory card slots. 3 Legged Thing’s two signature L-bracket
Tap here to watch
a video explaining Meanwhile Gracy’s base features cut-outs colours, namely Copper and Metallic Slate
more about the for easy access to the rear tilt screen, along Grey, and srp is £99.99.
Gracy L Bracket
with a notch designed to provide improved ❚ 3leggedthing.com
LEICA MASTERS
WITNESS TO
THE WORLD
LEICA IS ALL SET TO launch the third
instalment of its noteworthy ‘The World
Deserves Witness’ campaign, which seeks
to highlight the vision of creative Leica
photographers by showcasing their work in
print media, outdoor posters and online in
more than 15 countries.
Previous campaigns have featured
photographers of the calibre of Joel
Meyerowitz and Steve McCurry, and this
time around it’s the turn of Elliott Erwitt to
be celebrated, along with two rising stars, photographic series that explores the These three new visuals are intended as
Jasper Doest and Donato Di Camilo. Erwitt’s relationship of Humankind to Nature. Di an opportunity to spotlight the Iconic Leica
contribution is one of his legendary dog Camilo, meanwhile, contributes an image ‘M’ camera, in three different versions: M10
portraits, while young Dutch photographer from his Beach Body Bingo series, shot at Monochrom, M10-R and the all new M11.
Doest is showing an image from his Coney Island in New York. ❚ leica-camera.com

PORTFOLIO
Absolutely
Albert The peerless Albert Watson is still
working as hard as ever in his
eightieth year and we caught up
for an update plus an exclusive
look at his latest graphics-
inspired fine art project.
I
ABOVE: Albert T’S ALWAYS SUCH A PLEASURE catching up
Watson with with Albert Watson. While some photographers
Hasselblad, 2009.
might be hard to extract a coherent answer from,
RIGHT: Chloe Albert always delivers insightful responses that
Purse, 1979. perfectly complement the images he’s discussing. He’s
always delighted to pass on knowledge to help those
coming through the ranks and he clearly has just as
much passion for his craft as he’s ever had, as he’s
currently working flat out on a number of fronts as he
approaches his eightieth birthday in the summer.
I caught up with Albert during a brief lull in the
action in his busy New York studio, and it was a chance
for him to reflect on the past year or so of Covid chaos,
to talk through the changing nature of his work and to
share some background on his latest graphics-based
project, which is ongoing and is about to be shared for
the very first time anywhere with Professional Photo
readers. All very exciting, and I couldn’t wait to dive in.
First off, what’s going on in Albert’s working
life right now? “I’ve recently finished several Vogue
stories in Paris,” he reports, “and some of these have
just been published. I enjoyed working on them and
haven’t been able to do this for a while because of get cancelled, while there’s also the issue now that
Covid of course, which has made life very difficult. the printed fashion magazine market has largely
I think we had about six shootings in a row that we collapsed. It could cost in the region of $40,000 to
basically couldn’t get off the ground for European pull everything together and the budgets just aren’t
magazines because of the travel restrictions. there any more for these big overseas shoots. Some
“When you’re shooting for a magazine such as magazines are even requesting that the photographer
Vogue you have to put together a team of people, such should do the job for nothing!
as models, stylists, hairdressers, assistants and so on, “For me it’s not such a big deal because I do have
so you can end up with ten or more people involved, a lot of other things going on right now, but for those
OPPOSITE: and putting that all together with a pandemic going who are trying to break into the industry it’s a really
Gigi Hadid, 2019. on wasn’t easy. Sometimes everything would just difficult time. Things are changing so fast. For ›

ALBERT WATSON | PORTFOLIO

PORTFOLIO | ALBERT WATSON
RIGHT: Amy, Double

Exposure, 1970;
Estella Warren, 1998.
example, I can get a bigger hit on a shot that I post on to bypass the editorial element and Albert started
Instagram than the entire circulation of Italian Vogue, to produce work that became more his vision, and
which is almost unbelievable really.” which reflected his personal take on where to go and
While lockdown did affect Albert’s business less what to shoot. It became purer and more specifically
than most, he did need to close the studio down for orientated towards what galleries were looking for, but
three weeks at one point, and it provided time to the new approach did come at a cost.
think about the direction of travel. What was already “If you look at something I’ve shot in the past
happening was that his print sales were massively on for Vogue magazine you would say that this is my
the rise and, to a great extent, these are now driving photograph, this is my lighting and so on,” says Albert.
things more than the fashion and advertising work. “But there were other people involved of course. You
There is, in any case, a crossover between the art and had hairdressers doing amazing hair, people doing
commercial sides of things from Albert’s perspective, beautiful make-up, a stylist dressing the model and
since many of the prints that people are looking to buy it’s different now. These days I’m working more as a
had their origins on commercial shoots, either in the loner, which is good news in some ways, but I do miss
fashion arena or on the celebrity front. the collaborations with others.”
What had been noted, however, was the fact that it
was only a small percentage of images shot for other Personal Projects
purposes that had proved to be gallery material, given What this change of direction did signify was the
BELOW: Jack that there was a client to satisfy and full control wasn’t setting up of more personal projects, and Albert’s
Nicholson, 1998. possible. So, a few years back the decision was made enquiring mind is always looking for fresh challenges.

“I choose everything. I make

a red brick wall, or I make a
blue brick wall or I make a
marble tile wall, I do it all
myself and I create that
image. I don’t just rely on
it being observational, it’s
„
entirely controlled by me.
As we speak, just behind his right shoulder is his
classic image of Mick Jagger’s face superimposed over
that of a leopard, and it’s a striking and memorable
portrait that, remarkably, was by and large achieved
totally in-camera. It might have been taken way
back in 1992, but the thought process behind it is still
something that’s inspiring the photographer, and it
ties in neatly to his current thinking.
“At the time I was very interested in double and
triple exposures,” says Albert, “and back in the days
before computer manipulation it was a way for me
to produce creative images. I also played around
converting a 6x6cm transparency into one that was
eight by ten, and then put this on a vertical light
box and used such things as inks and oil paints to
transform it. And it served to get me interested in
layering, which is what I’m working on now, and this
involves something more akin to wall painting.
“Now, a lot of times, this is a pretty well-trodden
thing. Photographers might see a wall that’s got ten
posters on it, one on top of another, and pieces of
ABOVE: Charlotte these are ripped off and you see a piece of the one
Flossaut, ‘Wall underneath. Photographers such as Walker Evans
Series,’ 2022. worked a lot around this idea, and he photographed
LEFT: Gun, ‘Wall
advertisements on walls that had been painted years
Series,’ 2022. before, with other elements now showing through.
People have been there before and done that, and I’ve
done it myself because I found it interesting.
“So, I looked at this and thought that these things
are observational, you might pass a wall and you
go, oh, that’s interesting. You take a picture of it,
you move on, done. Okay. But then what happens if I
actually make everything that’s on that wall myself
and control it all? What happens if I make the whole
damn thing? In other words, I choose everything. I
make a red brick wall, or I make a blue brick wall or I
make a marble tile wall, I do it all myself and I create
that image. I don’t just rely on it being observational,
what’s produced is entirely controlled by me.
‘This has become my new series and each image
can take a long time to come together. I might work
six or seven hours a day solidly for two weeks to make
one, and they’re six by eight feet, so quite impressive.
But you need to remember that I trained as a graphic
designer, and these are artistic, graphic images, and
you can see that influence written all over them.” ›



RIGHT: Clockwise
from top left; Herieth
Paul, 2020; Halima
Aden, 2019; Liu Huan,
2019; Halima Aden
(Double), 2019.
A Commercial Eye “For the most part all photographers work in a

While Albert relishes the artistic side of his work, it’s rectangle,” he says, “whether they’re working with
clear that he’s also a great pragmatist, someone who film or with a digital camera, ultimately it’s what you
has embraced changing times and circumstances and put into that rectangle that’s important.
who realises that there’s nothing wrong at times with In some ways I think that digital is better than film,
taking a commercial approach. While he’s a great lover while in others it’s not as good. For example, night
of film, for example, and his film cameras still sit in time photography with digital is remarkable. I did
his studio and are kept serviced and ready for action, a series of handheld snapshots by moonlight using
he’s also very much made digital technology his own. my iPhone when I was last in Morocco, and it was

PREVIOS SPREAD:
Ryuichi Sakamoto,
1989.
LEFT: Kirk Youngblut,

‘Wall Series,’ 2022.
incredible because, as I looked at the images, I could In the early days of digital Albert was aware of a
see more detail there than I could with my eye. battle between himself and his computer, which he
“So, there are certain things like that and I think, smilingly likens to arm wrestling since he always felt
creatively, that has possibilities. But I would just say that the computer was attempting to take over. As
to the young photographer, also have a little look at digital post-production became more prevalent other
film and, as part of your training, enjoy going into a issues arose, as decisions had to be made regarding
darkroom. And in an old-fashioned way make prints, how a file would be treated, and sending things to an
because there’s a great magic to a piece of white paper outside specialist made life difficult at times.
that suddenly turns into a print in the darkroom.” “You would say to yourself at times ‘this has ›

of. It’s like sitting in the backseat of a limousine and

knowing the best route from A to B.”
Likewise, Albert has never had an issue with the
need to fulfil a commercial brief for his client, and he
gets slightly exasperated with others who are perhaps
a little reticent about taking the same approach.
“I’ve spoken to young photographers who are hung
up about their personal message,” he says. “They’re
worried that if they do a commercial job, will it
interfere with their artistic soul? Will it stain their
legacy? You want to say off you go, and perhaps work
as a waiter in the evening and take what money you
make and produce your own pictures. It’s a little bit
unrealistic perhaps, but it’s admirable.
“But my view on things is that I’ve always thrown
myself into commercial work and tried to do it
artistically and to make the image stronger, even
better than people expected. In other words, if the
client was expecting an image that was seven out of
ten, I tried to give them an eight or a nine, and that
meant my conscience was clear.
“I once had some people come over who had worked
on a drawing for six months for a Japanese soft drink
company and had got it approved. It was a bottle cap
with a drop of water on it, and I spent a couple of hours
basically copying to the millimetre the drawing they
had given me. I got it to a point where they were totally
happy and, at that moment, the contract was complete
and I’d earned my money.
“But then I then said to them, if it’s alright with you
I’m just going to do something for myself here. And
I had bought this special device that gave me perfect
ice cubes, and I’d frozen their bottle caps into ten of
ABOVE: Duckie
Thot, 2019.
“I’ve always thrown myself into commercial work and tried to
do it artistically and to make the image stronger, better than
OPPOSITE PAGE:
Clockwise from people expected. In other words, if the client was expecting an
top left; Reid
image that was seven out of ten, I tried to give them an eight or
Kastyn, 2017; Britt
„
Bergmeister, 2017;
Reid Kastyn’s Feet,
a nine, and that meant my conscience was clear.
2017; Adriana
Lima, 1999. too much red in it,’ but then again how much is too these. Then, very simply, with a squeegee bottle and
much?” muses Albert. “Someone might then kick a little jet of warm water, I revealed the bottle cap so
out the red and overshoot it and now it’s a little bit we ended up with that rather beautiful ice cube with
cyan and it still doesn’t look right. And I would go a bottle cap that was half frozen in it. Of course, they
backwards and forwards and then there’s that horrible loved what I’d done and I said I’m glad you like it,
word compromise, because you have a deadline here, have the Polaroid. And then of course the $10,000
coming up, and you say ok, send it in, I guess it will be question: can we have the film?
alright, and you hope for the best. “The point to this story is give the client what they
“After six months of that I realised that there was want. They’re paying you, and if you start fighting
only one way to do things, which was to bring a team them right away and refusing to produce the picture
in house, so I now have two full time Photoshop people they want then they won’t use you. They’ll be terrified
VIDEO
that work for me, and they’re involved in a process of to go back with a picture of a bottle cap in an ice cube,
Click here to watch
our full interview archiving and scanning everything. which is not what was asked for. So don’t fight them.
with Albert “So now, of course, when I’m on the computer I’m Do what they want but do it beautifully, and just
Watson, with extra working alongside two very fast technicians and I’m try to lighten up a little bit!”
fascinating detail completely in control, and I have great respect for what
on his current
they do. And because I’m sitting with them for hours More information:
working life.
and hours, I totally know what Photoshop is capable ❚ albertwatson.com


PROJECT
Isle of
Inspiration
Albert Watson may
have lived and worked
in the US since 1970 but
he’s never forgotten the
beauty of his home
country of Scotland, as his
epic Isle of Skye project
proved beyond doubt.
G
ABOVE: View from IVEN THE LONG LIST of prestigious
Storr Lochs Cottage, assignments that he’s taken on over the
Isle of Skye, years, it’s heartening to realise that, in
Scotland, 2013.
his private and personal time, Albert
RIGHT: Tree & Mist, Watson still chooses to get behind a camera when
Fairy Glen, Isle of Skye, the motivation amounts to nothing more than sheer
Scotland, 2013. pleasure. There’s also a part of him that will always
be tied to his Scottish heritage, so his self-set five-
OPPOSITE PAGE:
week project to shoot landscapes on the beautiful and
The Quiraing, Isle of
Skye, Scotland, 2013. rugged Isle of Skye back in 2013 was, in many ways, the
perfect merging together of joint interests.
Working with a Phase One digital camera, the
project also marked the first time that Albert had shot
on anything other than film, and he went for it 100%,
with the camera tethered to a laptop to archive images
as he went along. He travelled with a small team of
technicians and assistants and worked relentlessly for
twelve hours a day, starting in the dark and finishing
in the dark, and chose to travel in the months of
October and November to guarantee wind and rain.
“I took just one book along with me on this shoot for
inspiration,” he says, “which featured the paintings
of Degas. When most people think about the work of
Degas they’ve got the ballet dancers in mind, but he
actually also did a lot of landscape work as well. And ›

ALBERT WATSON | PROJECT

PROJECT | ALBERT WATSON
I was fascinated by the way that painters could turn a

very boring hill into something magical. If you were
with a group of photographers visiting Skye you might
stop and say to them ‘wow, look at that hill. That’s
amazing and I’m going to photograph it,’ and you can
just hear everyone saying ‘why is he photographing
this? It’s the most boring thing I’ve ever seen.’
“So I began to wonder how artists could make a
masterpiece out of something that wasn’t dramatic
enough for photographers. And I’m not an arrogant
person, but when I was looking at a landscape there
were times when I wanted to try to infuse my persona
into the landscape and to not let the landscape
dominate me. But there were other times on Skye
where the landscape was dictating to me, and I would
just say, you look great, I’ll take your picture, but at
other times I wanted to manipulate it.
“Degas could have looked at what was in front of
him and seen some cool red flowers in the landscape.
And a painter can say, you know what: I think this
would be better with a dozen red flowers, not just a
couple. And if you went back in a time machine and
were standing behind Degas as he worked, would you
tap him on the shoulder and say, Mr. Degas, there are
only two red flowers there: have you made a mistake?
“But that’s how photographers can be, and often
they don’t want things to be different to reality. And
they’ll say ‘did you put extra red flowers in there? Oh,
my God, that’s a disgrace.’ Well, I guess sometimes
artists aren’t happy with nature and add some flowers
and, as a photographer, you can learn from that.”
At one point a BBC film crew joined Albert and
his team, with the result being an episode in a
documentary series called ‘What Do Artists Do All
Day?’ It was a fascinating fly-on-the-wall glimpse
into how a great photographer works, and some took ABOVE: Road to “And eventually, after so many people wrote in, a
a look at the fact that the photographer had a back- Portree Through working photographer pointed out that my assistants
Windshield, Isle of
up team accompanying him and questioned why he were there to make me more efficient. That in turn
Skye, Scotland, 2013.
couldn’t, perhaps, just be travelling light with a simple allows me to take more pictures, and that's so
camera outfit and work on his own. important. I knew what I was going to do, I did endless
Albert recalls some of the comments that came his preparation for it and I needed assistants to help me.
way at the time. “Some people were saying ‘why does “It was also crucial to have someone on hand on
he need these assistants?’ ‘These people are doing a digital project who is right next to you, operating a
everything: he just takes a cable release and fires the laptop. I wasn’t putting my head under a dark cloth
shutter.’ It was unbelievable. There were actually just to look at the images, rather we were looking at the
four of us in the team, myself, two assistants and pictures on a computer screen and were blowing up
someone to operate the computer, and that was it. tiny sections so that we could constantly check focus,
“Those who were being critical couldn’t have to make sure we weren’t missing it by a millimetre.
been more wrong, and you had to ask whether they “And that’s also making you more efficient, because
had actually even watched the documentary. Had then somebody’s checking, checking, checking, and
they looked closer they would have seen that I was you’re sure that what you’re achieving is good. The
controlling everything. I would say stop here, do this. project I took on immediately before Skye was a book
Another 50 yards, stop here, come back three feet, two on Las Vegas called Strip Search, and that was shot
feet. I need the tripod set at three feet seven inches, I entirely on film. Subsequently working on a digital
need a 60mm lens, I need a 100mm lens. project really opened my eyes to the possibilities of the
“Some people even suggested that I was getting computer and, from then on, I started shooting
older and wasn’t up to carrying my own gear any more. with what the computer could add in mind.”
Excuse me: the fact my team was carrying the gear just
meant that I could run up to the top of a damned hill to More information:
see if it was worth carrying the equipment up there! ❚ albertwatson.com

ALBERT WATSON | PROJECT
“I took just one book along with me on this shoot for

inspiration, which featured the paintings of Degas. When most
people think about the work of Degas they’ve got the ballet
dancers in mind, but he actually also did a lot of landscape
work as well. And I was fascinated by the way that painters
„
could turn a very boring hill into something magical.
LEFT: Clockwise
from top left; Wall at
the Fairy Glen, Isle of
Skye, Scotland, 2013;
Roadside Tree, Isle of
Skye, Scotland, 2013;
Reeds, Loch Suardal,
Isle of Skye, Scotland,
2013; Grass at The
Fairy Glen, Isle of Skye,
Scotland, 2013.
VIDEO
Click here to view
BBC Scotland's
'What Do Artists Do
All Day,' film, which
follows Albert for
the day on his Isle of
Skye project.

PRO TALK
EMMA FINCH MARGARET SORAYA BEATA MOORE
Changing Times Photography is still largely male dominated but times are
changing and, to mark International Women’s Day, we asked a
selection of female professionals to share their experiences.
OU DON’T HAVE TO go too far
Y back in time to encounter an

age where photography, both
for hobbyists and professionals,
was resolutely male orientated, and it
could be an intimidating place at times
for women to venture. Role models were
almost exclusively men, magazines
devoted to photography very clearly
had a predominantly male readership
and it was relatively rare to come
across practicing female professional
photographers, particularly in genres
that could perhaps be considered outside
of their expected area of expertise, such
as sport, industrial and landscapes.
Thankfully times are changing, albeit something about that and also about needed. The group is open to anyone
still too slowly for some, and as we mark the fact that, after speaking to female who identifies as a woman and who is
International Women’s Day on March photographers at trade shows, I’d found interested in photography. They can
8 there are signs that the industry is many of them were lacking confidence in be a beginner using a smartphone or a
starting to open up and to move towards their photography and were seeking the professional photographer using the
becoming more inclusive and welcoming. support of other women.” latest top-end camera. The only rule we
Among those helping to encourage more Set up as a Facebook Group, four years have is to keep the tone friendly - but
women to pick up a camera, just for the on SheClicks is positively thriving. Within even that one is unwritten.”
pleasure of making pictures perhaps 24 hours of being set up some 300 people Those who sign up – and membership
but maybe also to look at the career had signed up and membership is now is free – can join webinars presented
opportunities, is photographic journalist 11,000 strong, and there are now also by female photographers or industry
Angela Nicholson, who founded the twitter and Instagram accounts, plus a experts, and these are run on Zoom and
SheClicks group back in August 2018. busy website under the banner. streamed live to the Facebook group.
“After years of working on “SheClicks is a very supportive Meanwhile the photographic industry
photography magazines, I was aware place for female photographers,” has been supportive, which has enabled
that there were lots of women quietly comments Angela. “You can go there Angela to put on more activities, and
being brilliant at photography and to ask questions, share images, ask there’s greater sharing of knowledge,
never featuring in the magazines,” she for constructive criticism, celebrate not just about the technicalities of
says. “I decided that I wanted to do successes and seek help when it’s photography but also the sheer joy of it.

SHECLICKS | PRO TALK
GERTRUDE DE VRIES AMY BATEMAN SARAH GARROD
Joining SheClicks
SheClicks is a private FB group that’s
Sarah Garrod
free to join and there’s a Facebook
page plus twitter and Instagram
accounts, and also a website:
❚ sheclicks.net
WORKING IN THE fields of
❚ Facebook page: @sheclicksnet
experimental and fine art
❚ Facebook Group: SheClicks
photography, Sarah Garrod sells her
❚ Instagram: @sheclicksnet
work at exhibitions and is now busy
❚ Twitter: @sheclicksnet
with commissions for private clients
and public/community spaces. “I
The regular meet-ups have also been love to get involved with my local
re-booted post-Covid, and last year they communities in south London,”
were held all over the UK, with a few also she explains, “and a lot of my work
taking place abroad. “They’re a great way addresses issues of urbanisation and
of meeting people with a similar interest climate change. I'm using historic
and you can’t fail to be inspired by the processes such as cyanotype, I do a
enthusiasm for the craft,” says Angela. lot of ‘cameraless’ photos and I shoot
“They’re also good opportunities to learn mainly on medium format and print in
from others, to take a look at different kit a traditional darkroom.”
and to compare notes over a cup of coffee Following a career in TV, Sarah
and a slice of cake.” moved across to photography after
Angela’s view on why a group such having two children and finding the
as SheClicks is important is very clear. schedules were becoming impossible. anyone had made portable darkroom
“It’s widely known that girls (and boys) “I began photographing my own blinds, and got so many replies that
perform better at single sex schools,” she children,” she recalls, “and soon were patronising and assumed I had
observes, “and studies show that girls do parents were asking me to photograph zero knowledge - like people telling me
better when taught by women. There’s theirs, which snowballed until I was that my eyes would get accustomed to
anecdotal evidence that this continues in high demand and had unwittingly the dark, and that I’d need a red light!
into adulthood with women preferring to managed to build a decent business in There is sometimes an assumption that
learn from other women. photography while still using my dad’s women know less about the technical
“Photography plays a major part old 35mm camera. side of things than men.
in our understanding of the world, “I have noticed that a lot of “I’m lucky in that our local darkroom,
so it’s essential that we have equal the high-end established local and many of the local photo clubs, have
representation. Also, it’s important photographers are male, and the women at the helm, which is brilliant
that girls see photography as a hobby or female photographers around often to see. Of course, you still can visit the
career that’s available to them, and the work on lower budget jobs and are major London galleries and find that
best way we can do that is by making more part-time. I think many of us are the majority of pictures on the walls
female photographers more visible.” juggling motherhood, and there is also are of women and by men. Even on
We caught up with a selection of the ‘imposter syndrome,’ which leaves us social media you can post a photo of a
professional photographers who have lacking in confidence. bare-chested man, but a bare-chested
chosen to sign up to SheClicks to get a “I’ve come across instances of woman becomes something else. It’s
feel for their experiences in the industry ‘mansplaining’ when I’ve asked not a level playing field.”
and to find out whether they believed technical questions in darkroom ❚ sarahgarrod.co.uk
that things might perhaps be gradually forums. For example, I was asking if ❚ @SarahG.Photog
taking a turn for the better. ›

PRO TALK | SHECLICKS
Beata Moore
A PROFESSIONAL photographer living
in Kingston-upon-Thames, Beata
Moore undertakes commissions for a
wide range of clients, and working on
books is especially close to her heart.
She’s the author of five coffee table
books and two visitor guidebooks,
and her latest volume, ‘Photographing
Surrey and Sussex’ is at the moment in
the design stage, and it's scheduled to
be published later this year.
“Fifteen years ago, when my
photographic career was just
beginning, being a woman in what
was still a male-dominated industry,
was a hard place to be,” she recalls.
“While it's true that women have
been successful in certain genres of
photography, somehow the landscape
photography industry in the UK
tended to be male-heavy.
“It took me a while to find some
professional female landscape
photographers. I realised how
under-represented women were,
so I decided to form a portal for UK
professional and semi-professional
female photographers, ‘Landscapes
Margaret Soraya
AFTER BEING A professional wedding
photographer for fourteen years
Margaret Soraya set up her landscape
photography business Quiet
Landscapes four years ago, and this
has proved so successful that it’s now
her main area of focus.
“I run around eight landscape
photography workshops a year to the
remote Scottish islands,” she says,
“and I also have an online membership
community and am running a
landscape photography festival in
2022. My work is represented by the
Bosham Gallery and I also sell my own
prints, and I travel solo through the
islands for much of the year.”
Despite her success Margaret
still feels there are times when she

Emma Finch
EMMA JOINED SheClicks not long after
it was established, and she’s given
talks to members about ‘Portraits with
Impact’ to share her knowledge. “It
feels like a safe and welcoming place
by Women’. Its main goal was simple, where you can ask any photography
to help women photographers in the related question and you will get help
UK build a stronger presence in the and support,” she says. "The successes
photographic industry. I believed that of members are always celebrated,
publishing the names of inspirational and Angela is great at giving people
female photographers and women- opportunities they may otherwise not
led workshops would help to address have had, to be published, to enter
this issue. It felt good to fight for competitions or to meet up in person.”
balanced representation of female Having always been passionate
photographers and, even better, to be about photography, Emma decided to comfortable being photographed by
seeing some positive changes taking turn pro when her daughters were very another woman, plus I understand how
place over the years. young. “I set up a ‘just for fun’ family women want to see themselves.
“It was a natural progression photography website (Emma Finch “With my events business we have
for me to join ‘SheClicks’ since it’s Photography),” she says, “and then a membership base of about 40%
a much wider, world-wide group, women, which I think is quite rare in
not restricted to professionals, the industry, but I would like this to
but also complete beginners. The grow to 50%. Again, I think women
beauty of it is that more experienced could be attracted by the fact that it
photographers give advice to those is part run by a female photographer.
who need help. As it’s a very friendly So, overall, although female
group, women can chat freely without photographers are in the minority,
fear of being criticised by their peers.” with everything I’ve done so far, being
❚ beatamoore.co.uk a woman has been advantageous.”
Emma is also encouraged by what
she considers to be huge changes in
the industry in recent years. “SheClicks
is doing a tremendous job in
“ I’ve found a small

niche that works well
supporting and encouraging female
photographers,” she says, “whereas
before forums were mostly the
for me. A lot of my domain of the male photographer.
customers are female The manufacturers are seeing that
- for example 95% of female photographers spend too, and
so adverts are changing to be more all-
bookings for the festival inclusive and less patronising.
next year are women. ” “One area where I am passionate
for change in is that I would like to
is overlooked for such things as out of the blue came a booking and see more big-name British female
speaking at events, simply because the business has been entirely word photographers. When I think of my
of her gender. “There are not many of mouth ever since. I actually found inspirations in the photographic world
female landscape photographers,” that being a woman was an advantage (Lyndsey Adler, Lara Jade, Sue Bryce)
she says, “and I’ve found a small niche for me in this case. By and large, it’s they are all based in the US. I am
that works well for me. A lot of my mothers who book family photo hopeful this will change as we see an
customers are female - for example shoots and they are comforted by the increasing number of female speakers
95% of bookings for the festival next fact that I’m a mother too. at events such as The Photography
year are women. I try to keep finding “A few years further on I began Show, and hopefully the photography
positives in it, but it is undoubtedly a separate boudoir and commercial trade can see the potential in having
still a male dominated industry and I lingerie business (Belle Privé more female ambassadors.”
do find myself having to work twice Photography) and, again, being ❚ emmafinchphotography.co.uk
as hard to get somewhere.” a woman was most definitely an ❚ belleprive.co.uk
❚ quietlandscapes.co.uk advantage. Women feel much more ❚ sessiondays.co.uk
›

PRO TALK | SHECLICKS
Gertrude de Vries
WORKING IN THE world of sports
photography, Dutch photographer
Gertrude de Vries has enjoyed being
part of SheClicks and appreciates
the fact that it feels like such a
safe and supportive environment.
“Also, because of the diversity in
photographic topics they cover I’m
able to get to know other areas and
can ask my questions without being
judged or ridiculed for it.”
Gertrude herself has broken
down barriers in Holland, where she
specialises in covering the sport of
Korfball. “When I started out I felt
that I wasn’t good enough,” she
recalls. “But then a professional sports
photographer, Marco Spelten, spotted
me and said I had an eye for it, but
lacked technical knowledge, which
he felt I could learn. He was a member
of a photography club that took me
in and they collectively helped me so
much. They gave me feedback and
advice and, as I got better, I visited
more tournaments and was allowed to
tag along with him.
“The organisations were often
willing to have me as an extra as a woman because Korfball is a mixed I was thrown in at the
photographer and allowed me to be gender sport to begin with, so there “deep end but learned to
there. I was thrown in at the deep end were already men and women involved
but learned to swim. I found out that as officials, referees, players, jury swim. I found out that
sports photography didn’t feel like members and photographers. sports photography
work to me but was something I loved “When I see how completely normal
to do and could do as a professional. it is to be a female photographer in
didn’t feel like work to
There were never any obstacles for me the world of Korfball I’m positive that me but was something
I loved to do and could
do as a profession. ”
this will become normal in other
sports too. Sports photography is
still a male dominated arena. But
‘dominated’ has a bad ring to it: many
male photographers are now very
welcoming to female co-workers and
like the different view they bring to
the sports. Of course, there will always
be a few badly behaved men who
make uncalled for remarks, but I try
to care less about that and to be more
confident about what I can bring. We
should be celebrating the diversity
that female and male photographers
can each bring to sport.”
❚ korfbalfoto.nl

Amy Bateman
COMING FROM A background where
she was based on a farm, Amy
Bateman tapped into that experience
to give herself a valuable niche to
exploit and, since winning British Life
Photographer of the Year in 2019,
she’s never looked back.
“That gave me all the confirmation
I needed to know that my work is
as good as anyone else’s,” she says.
“However, I didn’t need the win to
validate my work, as I shoot for myself,
and my clients and the feedback I was
getting from the increasing number of
commercial projects I was undertaking
made me choose to pursue being a
professional photographer.
“Living on a farm in Cumbria helped
steer me into becoming a countryside/
agricultural photographer and I have
certainly played on the ‘Farmer’s Wife’
tag a few times to add to my credibility
in order to win a commission. Though I
hate the connotations the tag derives,
but that’s a whole other story.
“My confidence certainly helps
me to overcome any barriers that
may arise and I’m educating my
three young girls that they too can
excel in whatever they like. However,
I’m very aware that not all women
feel so confident and I like to help
develop this in others through the
SheClicks group. I was a member of a
local photography group which was
very inclusive, and this developed a
strong female membership. There was
still a strong male dominance in the
PAGB-trained judges and the multiple
competitions held in the club simply
helped to reinforce the imbalance.
I frequently fell out with them but
“ I’m very aware that not all women feel so
confident and I like to help develop this in others
that could have been from my over-
inflated opinion of my own images!”
through the SheClicks group. ”
Amy considers herself fortunate to an issue at all. I have also met a wonderful now recognised and talked about on a
have virtually created her own niche community of photographers in Cumbria whole new level and is being called out
in photography, and she’s building on and, although most are male, I’ve never when it's occurring.
her USP by offering Farm Photography experienced a gender differential. “Many behaviours towards women,
Tours, workshops and holidays. “I “I’m very much aware however, from which were once seen as just being
have a book coming out in September talking to women whilst helping out on ‘part of being a female’ are no longer
as well,” she says, “which will be called the SheClicks stand at TPS, that other acceptable. Though changes might
Forty Farms, and this tells the stories women regularly experience unnecessary take generations to shift I’m delighted
of how farming in Cumbria shapes over-criticism, lack of confidence and to see them happening, and feel my
the landscape. My publisher actually feel unsafe at times whilst practicing girls will be growing into a slightly less
approached me as his first choice for their art. I think this is a general gender divided world.”
the book, so I don’t think gender was reflection of our society that misogyny is ❚ amybatemanphotography.com

The World
According to
Dench
We’ve all had moments when the dreaded rejection letter has
arrived, and Dench manfully shares his, including a glorious
misplaced Post-It note that made a very personal observation...
HEN WAS THE last time you were later, the book was eventually published under the
W rejected and disappointed? For most,

both are a regular and familiar part of
being a photographer. For me, it’s a daily
occurrence. My most spectacular rejection was for
my first ever photo-book proposal. In the summer of
title A&E: Alcohol and England by Bluecoat Press, and it
benefitted from the subsequent years of photographs
it included. Meanwhile the Post-It note remains a
source of motivation. I might put it on a T-Shirt.
Sometimes I’ve been the source of disappointment
2004, I dropped off a box at publishers Phaidon that for others. In 2001 was working on an assignment
contained around fifty 12x16 inch colour prints from for the recently revived (and was soon to close again)
a reportage project I’d been working on, with the fashion magazine NOVA on a series of portraits
provisional title, Drinking of England, the theme being of young activists. I photographed Vincent who
England’s relationship with alcohol. campaigned for the right to be naked wherever
They’d given me a call to come and collect the and whenever he wants, Samantha who had been
box. I probably had a pint first to calm my nerves. I attending the Free Tibet vigil for two years for two
definitely went for a pint afterwards. In the box was hours on a Wednesday at the Chinese embassy in
a formal letter (or printed email) informing me I London, Lynn who regularly protested nationwide
would be contacted: …in due course, once a decision has against cruelty to animals and Jo, who liked pulling
been made or if we require any further information from on a white protective suit and tearing up fields of
you relating to this project. I wasn’t optimistic. In the genetically engineered plants.
middle of the letter was slapped a yellow post-it with They were all pretty straightforward portraits,
a note scribbled in red pen: derivative of martin parr + I turned up at a place relevant to their cause, shot a
not v. good. Kate. few rolls of film and that was that. The final portrait
I first read Kate as Hate. I might have been right. I was of Julie (not her real name), a former Olympic
assumed the Post-It note was left on by accident. The swimming hopeful who was diagnosed with multiple
rejection hurt but I think it was for the best. Ten years sclerosis and was battling to revise the availability of
NHS medication in the area where she lived. I arrived
in the area where she lived for the portrait.
Julie and I had different ideas of how the shoot
would go. When she opened the door there was
palpable disappointment from her side of the door
knob. My understanding is, she was expecting a crew
of fashion magazine assistants, make-up artist,
wardrobe, lighting and photographer. There was just
me. My hunch was confirmed when she revealed she’d
sent her parents out for the day. The kitchen table
was positively heaving with bakes and snacks to feed
the expected entourage. I took as long as I could to
take the portrait of her, made as much of a fuss as I
possibly could and ate as much as I could. I even took
away with me a tower of Tupperware treats which I
fed into a bin a short drive away.
When I photographed writer Julie Burchill for The
Guardian, she remarked she could feel life draining
from her with each click of the shutter. Logging onto

PETER DENCH | PRO TALK
I assumed the
“Post-It note was
left on by accident.
The rejection
hurt but I think
it was for the
best. Ten years
later, the book
was eventually
published under
the title A&E:
Alcohol and
England by
Bluecoat Press.
”
my sales history on stock photography agency Alamy, written by my course leader Virginia Bolton (real
is always disappointing. Relinquishing my British name): Whilst Peter has shown an increased dedication
PETER DENCH
An Olympus
Airways Executive Club Silver card status was heart- to photography and has produced a good portfolio of Visionary, Peter is
breaking. During one portfolio review, the Picture work for interview, his overall attitude tends to be one of a highly regarded
documentary
Editor closed it after seeing the first few photographs indifference, flippancy and at times complacency. Unless
photographer,
and immediately started praising a photographer Peter grows up a little in the very near future and works writer and
whose style was the opposite of my own. Leaving hard in all of his subjects, he will soon find himself out in commentator,
with a wry sense
Canary Wharf I felt rejected and disappointed but the cold world surrounded by far more motivated and able
of humour running
ended up getting regularly commissioned by them students who leave him standing. Meh! through his work.
for over a decade. Turns out they had just made up Not much change there then. I search online for a peterdench.com
their mind quickly about wanting to work with me. copy of the Focus on Photography paperback – 19 July
Sometimes you can just never tell. 1990 by co-authors Ron Graham and Virginia Bolton
In the same box as my Phaidon book rejection, - find a ‘Used - Good’ copy for sale at £1.09 and
I keep a March 1990 A Level Photography Report click Add to Basket. I hope it’s not disappointing.

Welcome
to the
RØDE
VideoMic
GO II!
Following in the footsteps of such a phenomenally successful
product as the RØDE VideoMic Go was never going to be
easy, but the Mark II version is a real game-changer!
OMETIMES YOU JUST KNOW stunning audio quality. All good, but look
S when a product is going to

move mountains, and the
launch of the RØDE
VideoMic Go II feels like one of
a little closer and you start to see some of
the awesome new features that are now
on board that have brought this
versatile product bang up to date.
KEY FEATURES
RODE VideoMic Go II
those moments. For the past ❚ Revolutionary acoustic
few years the original VideoMic Producing Pro design, first introduced
Go has been an absolute staple Quality Audio with the VideoMic NTG and
entry-level product for a The VideoMic GO II makes NTG5 shotgun microphones
generation of filmmakers, and capturing professional-quality – delivers unmatched
it remains a really well specified audio simple. It features the transparency and rich, full-
and usable microphone that’s same revolutionary acoustic
bodied sound.
available for the bargain price of design as the VideoMic NTG
❚ 3.5mm TRS output for use
£59. For that money you get a and NTG5 professional shotgun
with cameras and USB-C
shed-load of high-end features microphones, which utilise RØDE’s
output to enable use with
plus a Rycote Lyre shockmount innovative annular line tube smartphones, tablets and
to isolate the mic from bumps technology to deliver unmatched computers.
and vibrations, and it’s a neat transparency and rich, full-bodied
way to transform your on- sound that enhances the audio ❚ Ultra-lightweight (just 89g)
camera audio at a stroke, and a quality of any device it’s connected and compact, making it highly
complete no-brainer to make to. The VideoMic GO II runs off portable and useful in a wide
the necessary investment. plug-in or USB power, meaning range of content creation
Technology inexorably moves no batteries are required for it to applications.
on, however, and the arrival of operate and, with no complicated
❚ Incredibly easy to use – no
the RØDE VideoMic Go II, still switches or controls to worry
batteries are required and
really competitively priced at about, it’s incredibly simple to use,
there are no complicated
sub-£100, signals a massive allowing creatives to just pick it up, switches or controls.
step-up in terms of what’s on- plug it in and go.
board, and the new model is a ❚ Compatible with RØDE apps
valuable new addition to the legendary Plug and Go for accessing advanced
range of RØDE on-camera microphones. The beauty of shotgun mics is that they’re features, powerful audio
Like the original, the Mark II version highly directional and this makes them processing and studio-quality
is super lightweight and very simple the ideal model to use if you’re thinking of recording on any device.
to use, and it’s capable of delivering setting up a Run ‘n Gun operation that’s

| ADVERTORIAL
completely self-contained. Simply slide if you’re producing a podcast or streaming

the VideoMic Go II into the hot shoe and
plug it into your camera via its 3.5mm TRS
it can also serve as a high-quality desktop
USB microphone, and it’s small enough
Supercharged
output and you’re ready to go. The quality
of the audio you’ll be able to record will
to be taken anywhere – ideal for creators
on the move. Despite its diminutive size,
with USB Power
be up to a high level, and way superior to the VideoMic GO II packs a punch, with THE ABILITY TO CONNECT the
anything that could be recorded using a a professional-grade shock mount and VideoMic GO II to a smartphone,
camera’s on-board mic. In short, it’s the high-quality windshield included, a rugged tablet or computer via USB not
perfect solution for those who are regularly all-metal body and renowned RØDE build only opens up a world of creative
on the go, particularly filmmakers, quality, all of which ensures that it can take possibilities for users but also
vloggers and mobile journalists. on the rigours of creating, day in, day out. unlocks access to supercharged
As a valuable bonus the VideoMic Go II features via the RØDE app suite.
also features a USB-C output for plugging Revolutionary Audio
directly into smartphones, tablets and “When we released the VideoMic NTG ❚ RØDE Connect is RØDE’s free
computers – a highly innovative feature in 2019, we completely revolutionised podcasting and streaming
that’s also found on the VideoMic NTG. on-camera audio,” software. This allows up to four
This ground-breaking comments RØDE VideoMic GO IIs (and other
patent-pending CEO Damien compatible RØDE microphones)
technology unlocks Wilson. “With to be connected to a computer,
huge creative its innovative with complete control over the
potential, making acoustic design microphone’s input level, access
the VideoMic GO II and USB recording to the high-pass filter, high-
suitable for everything capabilities, it pushed the frequency boost and pad, plus
from creating vlogs on a boundaries of what a compact shotgun studio-grade audio processing,
smartphone to recording mic was capable of. Not only was it ideal including the legendary
a podcast on a computer. for on-camera use, but it also became APHEX Aural Exciter and Big
When used in USB mode, the 3.5mm port a go-to for mobile content creators, an Bottom effects, together with a
also functions as a headphone output excellent portable recording solution for compressor and noise gate.
for zero-latency audio monitoring and podcasters and streamers and also a do- ❚ RØDE Central is a handy desktop
playback, essentially turning the VideoMic it-all microphone for filmmakers. and mobile companion app that
GO II into a fully-featured USB mic. “The VideoMic GO II combines these gives users access to a host of
same features with the ultra-lightweight advanced features, including a
Small but Mighty and easy-to-use form factor of the high-pass filter, high-frequency
Weighing a mere 89g and measuring original VideoMic GO to offer a highly boost and pad and complete
just 150mm in length, the VideoMic GO versatile yet approachable microphone control over the input level and
II is ultra-lightweight and compact. This that's ideal for a wide variety of creators, headphone output level.
makes it perfect for use with smaller from beginners through to seasoned ❚ RØDE Reporter is a simple solution
mirrorless cameras or smartphones, while professionals. The next generation of that enables the recording of
compact shotgun microphones has well broadcast-quality audio on a
and truly arrived, and once again, mobile device. The VideoMic GO II
Below, RØDE Product Specialist Ryan Burke
RØDE is leading the charge.” can also be used with the app for
takes a detailed look at the VideoMic GO II.
iOS and Android devices.
Compatibility with RØDE Central,

RØDE Connect and RØDE Reporter
via its unique USB audio output
transforms the VideoMic GO II into
an incredibly powerful and versatile
microphone unlike anything else
in its class, making it perfect for
everyone from mobile content
creators through to filmmakers,
podcasters and livestreamers.
More information:
❚ rode.com/microphones/on-camera/
videomic-go-ii
❚ sourcedistribution.co.uk

All About
Audio
As ever more photographers
venture into video production
the need for good quality
audio to accompany the
visuals is growing. Here’s
our guide to how to
achieve the best results.
WORDS TERRY HOPE
IMAGE @henmankk
HE IDEA OF putting together
T a feature on audio to run in a

magazine aimed at professional
photographers would have
been considered ridiculous even just a
few short years ago. However, the fact of
the matter is that times have changed
dramatically, the whole idea of what
constitutes a photographic business
is being thrown up in the air and those
professionals who want to stay relevant
and to broaden their reach are realising
that video is fast becoming a must-have
skill that’s essential to the business.
For many photographers the process
of producing motion footage is relatively
straightforward, since there are so many
skills, such as composition, lighting
and a general eye for how colour works,
that are transferable. There’s also the least is based around how specialist add to a production, they are remarkably
case that, these days, very often you’ll an area audio once was, and there’s affordable as well as being lightweight
be working with the same kit to shoot no denying that, back in the day, the and easy to carry around.
video as you do for stills, so advanced entire business of film production was The aim of this feature is to take a
is the current breed of hybrid cameras. off limits to anyone shooting stills, both bit of an overview of the audio market
You might even use the same lenses and from a technical point of view and also as it stands at the moment, to hone
lights as well, but when it comes to audio for financial reasons. But those times in on some killer products that every
this is an area that can leave even some are well behind us now, and everywhere professional photographer really should
quite experienced professionals seriously you look there are really well-featured know about and to pass on a few tips
worried about their skill levels. audio products that are simplicity itself about how to achieve the very best
In many ways some of that fear at to use and, considering what they can audio on a job. We’ve partnered up with

TECHNIQUE | AUDIO SPECIAL
some of the top names in the audio

business, such as Sennheiser, RØDE,
Zoom, JOBY and Saramonic, to produce
some information-packed sponsored
supplementary features and this
monster eighteen-page section should
leave you a little more up to speed on
what’s out there, more knowledgeable
about the kit you should be taking a
closer look at and a little more confident,
perhaps, about what’s required to get
involved yourself in a way that reflects
the professionalism of your business.
TYPES OF MIC
It’s possible to get really technical
when it comes to talking about what
different microphone types offer, but
essentially all you really need to know is
that whichever mic you choose will have
particular characteristics, and if you take
the trouble to get to know what these are regularly used to mic up musicians, so
Attach a transmitter to the
then you’ll discover that particular types that every member of an orchestra, for
subject for straightforward
might be better for certain jobs. Wi-Fi audio to the camera. example, or maybe a group of actors on a
A really popular type of mic, for stage can be picked up.
example, would be a shotgun variety, There are also bi-directional mics,
such as the Sennheiser MKE 400, the which record sound from the front and
new JOBY Wavo PRO, the Saramonic Vmic back of the microphone and have a very
Pro Mk II or the RØDE VideoMic Go II, narrow pickup angle that makes them
which are all highly directional, meaning useful for isolating a single voice, or
that they will pick up sound coming from instruments surrounded by other sound
directly in front, rather than gathering it sources. There are now even specialist
in from all directions. That’s a very useful microphones from Zoom, Sennheiser
attribute to have if you’re recording an and RØDE that are designed to capture
interview and you’re working with your have alternative qualities. You might, 360-degree sound that can accompany
microphone on-camera, perhaps tucked for example, want to consider an a VR production. These are incredible to
into the hot shoe. It means that if any omnidirectional microphone which, as listen to through a set of headphones at
unwanted sounds come from the side or the name implies, will pick up sound a trade show and, as VR starts to become
behind you that they are likely to not get coming from all directions. These are more mainstream, they could potentially
picked up at all or they’ll be so faint as to great for situations where you might have more widespread use.
not be a particular problem. want to record sources on more than No run through of microphone types
For many of those going into video one side of the mic, in a situation where, would be complete without also talking
for the first time who are looking for perhaps, there are several people about one of the most useful types
the simplest of solutions this can be gathered around a single microphone of all, namely the lavalier. These
the way to go, and it’s also highly cost whose collective voices are tiny, to the point where they
effective, with the JOBY coming in at can be attached to a collar or a
£257, the Sennheiser at around £170, lapel and be virtually invisible.
the Saramonic at £165 and the RØDE Small they might be, but they can turn
priced at just under £100. All three will in an incredible performance and, when
make a huge difference to the quality Sennheiser MD 42 they’re used in combination with a
of the audio you record and they could wireless transmitter and receiver, they
be all you need if all you ever want to do can provide one of the most useful and
is to record straightforward audio in the you are looking to capture in your audio. cost-effective audio systems of them all.
same kind of situation all the time. Examples of omnidirectional In short there are lots of options and,
Of course, in the real world most microphones would be Sennheiser’s over the next few pages, we’re going to be
professionals need to be flexible and MD 42 mic that’s designed for reporters throwing a spotlight on some examples
to have the ability to work in different out in the field or the Audio-Technica that will definitely be worth looking at
scenarios and so you might then AT8010 omnidirectional condenser if you’re a photographer looking to take
need to look at microphones that microphone. Both of these products are your audio more seriously. ›

Big
Performance
on a
Budget
Saramonic microphones might be
highly affordable but they’re still built
to a high standard. Filmmaker Tommy
Reynolds takes a closer look at the
UwMic9S wireless lavalier system.
N THE WORLD OF AUDIO
I Saramonic might not be the first

name to spring to mind when one
is considering a pro-spec audio
kit to invest in for your filmmaking but,
if you take a closer look, you could find
yourself surprised by the quality of the
products they’re offering and the value
for money their kit is delivering.
I’ve just been given the opportunity to
test out the Saramonic UwMic9S outfit
to see what I thought about this exciting
new system and I have to say that I’ve
come away impressed. However, before
The dual receiver that features
I even begin to talk in detail about the in both kits sits very happily
product and the way it handled I should in the camera’s hot shoe and
first give an honorary mention to the provides a versatile audio
way it’s presented, which was a positive solution for filmmakers.
before I even got properly started.
The system arrives snugly contained DIFFERENT VERSIONS 9-step input gain control.
within a solid and well-made watertight Saramonic sells two versions of the Along with the opportunity, in
case, which includes a selection of UwMic9S. Kit 1, which costs £285, tandem with the extra transmitter, to
adapters for plugging into either comes with a single transmitter and dual record two subjects at once, another key
your camera or external recorder via receiver while Kit 2, priced at £427.50, advantage of the dual receiver is that
XLR. It even included spares of almost comes with an extra transmitter, you could use it to give yourself a handy
everything you could need, including providing a highly cost-effective backup solution. For example, you could
antennas, windshields, dead cats and and versatile wireless audio solution have one output going straight into the
USB cables. It even includes belt clips and for vloggers, filmmakers and mobile camera for easy editing, while the other
a cold shoe adapter. journalists who want a little more is linked to an external audio recorder or,
As for the UwMic9S components flexibility in their operation. potentially, a B Cam. I really appreciate
themselves, these are constructed The dual receiver that comes with this opportunity to take audio more
primarily of metal and they feel solid both packages features headphone out, seriously, since it’s something too many
and robust. In terms of finish, they’re mic or line-level inputs, together with content creators tend to overlook. You
the equal of some of the top-tier mic two dedicated outputs and four output do this at your peril since, while you can
systems that are out there, but at a cables. The belt pack transmitters sometimes get away with good audio
fraction of the cost. So far so good, and meanwhile feature dedicated and poor visuals, you can’t wing things if
now I couldn’t wait to try the kit out! microphone and line-level inputs plus they’re the other way round.

SARAMONIC | ADVERTORIAL
Tap here to access a film that Tap here to visit
gives more detail about the Tommy Reynolds’
Saramonic UwMic9S System. YouTube Channel.
cutting out background noise compared

to others I’ve tested. This is due to the
Lo FI (low frequency) mode they feature,
which effectively cuts out anything
below approximately 80Hz. This is great
if there’s something like a radiator,
boiler or fridge nearby that’s producing a
constant hum, and it can be a lifesaver.
Perhaps the biggest plus point of the
UwMic9S, however, is the fact that it’s
wireless, meaning that you don’t need
to worry about trailing cables. But what
distance can you travel before you lose
signal? I managed to go an impressive
120 metres away from the camera before
running out of space, and the signal
showed no sign of cutting out, with
latency unaffected.
More information:
❚ saramonic.com
❚ tommyreynoldsweddings.co.uk
VERDICT
TO ROUND THINGS UP, the Saramonic
UwMic9S is one of the best ‘bang
for your buck’ dual transmitter mic
system you’re likely to find on the
market today. As soon as I opened
the box and saw the case I knew it
was going to be a great product. I love
the fact that Saramonic includes so
many additional adapters for various
different recording units as well as
all the spare parts, and it’s a sign that
things are being done properly.
The built-in rechargeable
batteries are also a big plus for me,
One of the biggest upgrades with and it’s easy to read even when you’re especially with the USB option to
the new UwMic9S system concerns working outdoors. The buttons feel nice charge the units while I’m using
power options. The previous product and are easy to press when navigating them. Having a dual transmitter
utilised AA batteries but now both through the menu, and overall working system is perfect if I need to do
the transmitter and receivers feature with the devices is very straightforward interviews on my YouTube channel
rechargeable Li-Ion power, while there and a good experience. or make use of the extra output to
is also the option of USB charging/ The included DKM3 lavalier mics back up the recording in case the
powering. From my own testing, it produce a flat sound, which can be inevitable happens: let’s face it,
took me under two hours to charge tweaked in post. I’m a Premiere Pro we’ve probably all been there at
these units fully, and from here I had user and use the parameter equaliser some point in our working lives!
approximately seven hours of continual to adjust the high and low frequencies Overall, I would say that if you’re
usage had I needed it. If you found to achieve a more well-rounded sound. looking for an affordable and easy-
yourself running out of power then the It took me less than a minute to get to-operate wireless mic system to
facility provided to keep going using the the sound I was achieving to a level I up the quality of the audio in your
USB input would be invaluable. was happy with so no headache here, content, I would highly recommend
The OLED screen through which and I would likewise put high-end taking a serious look at what the
you control both the transmitter and microphones through the same process. Saramonic UwMic9S can offer. You
receiver looks modern and bright, Overall the mics do an excellent job of won’t be disappointed!

Essential
Audio
Gear
If you’re aiming to shoot video alongside stills you could be starting from scratch
on the audio front. Here’s a line-up of mics and audio accessories that are well
worth checking out, with new audio products coming to the market all the time.
Audio Technica Lavalier Mics

£157 AND £179 | audio-technica.com
LAVALIER MICS ARE ONE of the most useful pieces of audio
kit a filmmaker can use, and there’s a great choice of
products out there and, clearly, these will come in
at a wide range of quality levels. New from Audio
Technica are the low profile BP898 Subminiature
Cardiod Condenser Lavalier Microphone and the BP899
Subminiature Omnidirectional Condenser Lavalier, low-profile design (a mere 5.3 mm in diameter) is ideal
which are direct replacements for the existing AT898 and for applications requiring minimum visibility. For those
AT899 products. Both are available in a number of different who require up-close directional miccing the BP899 is the
terminations for wired or wireless use and the pair feature wide recommended product, while if you’re working at a greater
dynamic range and tolerance for high sound pressure levels distance or a less focused pickup is desired, the BP899 with
to ensure intelligible, natural-sounding audio. Meanwhile the its omnidirectional capsule is the one to go for.
RØDE Lavelier II Mic

£99 | rode.com
RECENTLY INTRODUCED TO the RØDE range is the Lavalier II, a
premium microphone that features a revolutionary low-profile
design that allows it to sit flush against clothing and other
mounting surfaces. This makes it incredibly discreet, and it also
features an innovative mounting clip that’s also ultra-compact,
plus a flat cable that’s neat and unobtrusive, making threading
it through clothing a breeze. Obviously sound quality is
paramount, and the Lavalier II is said to deliver broadcast-grade
sound that’s suitable for a range of recording applications.
It has a very flat frequency response and will capture rich,
detailed audio with incredibly low noise. Its omnidirectional available to complement the product is a premium accessory
polar pattern picks up crystal-clear sound from all directions, kit, which includes a high-quality pop filter and mini furry
meaning the Lavalier II is very forgiving when it comes to windshield for recording outdoors, a compact mounting clip
placement, and it pairs perfectly with a wide variety of audio (which includes easy cable management slots), a set of coloured
devices, including the latest RØDE Wireless GO II and newly identification rings for keeping track of microphones in multi-
released AI-Micro, and it features a 3.5mm locking connector mic setups and a handy zip case for keeping the Lavalier II and
for use with professional wireless microphone systems. Also accessories safe, neat and organised.

BUYERS’ GUIDE | AUDIO SPECIAL
Zoom F3
PRICE: TBC | zoomcorp.com
TOTALLY HOT OFF THE PRESS and scheduled warning or when you need to set and forget your
for a March arrival, the new F3 32-bit Field Recorder recorder and have no way of monitoring or adjusting
from Zoom is a palm-size two-channel device that the levels. The pocket-sized recorder has a headphone
is small and light enough to be strapped to a boom out and a line out and it
pole with the built-in Velcro strap for off-camera can be powered by two AA
recording, negating the need for a waist-mounted batteries, an optional AC
mixer. The F3 is equipped with dual AD converters adapter, or a USB powerbank.
for low gain and high gain, and it’s claimed to It records to microSDHC
achieve a high S/N ratio when capturing sound / microSDXC cards with a
in both quiet and loud environments. The input capacity of up to 1TB, and
signal can be recorded in a 32-bit float WAV you can remote control the
format, which is handy in certain situations device by using an Android /
where sound levels can suddenly increase without iOS app and Bluetooth.
Saramonic UwMic 9S
£285-£427.50 | saramonic.com
WIRELESS MICS ARE A brilliant option for filmmakers outputs and four output
since they do away with any need for trailing wires and cables. The belt pack
you can work at some considerable distance from your transmitters meanwhile
subjects and still record great quality audio directly into feature dedicated
your camera. The Saramonic UwMic9S is a fine example, microphone and line-
high performing and available at a killer price. There are level inputs plus 9-step
two kits available: Kit 1, which costs £285, features a input gain control.
single transmitter and dual receiver while Kit 2, priced One of the biggest
at £427.50, comes with an extra transmitter, providing upgrades with the new
a highly cost-effective and versatile wireless audio UwMic9S system over
solution for vloggers, filmmakers and mobile journalists its predecessor concerns
who want a little more flexibility in their operation. The dual power options. Previously AA batteries were used but now
receiver that comes with both packages features headphone both the transmitter and receivers feature rechargeable Li-Ion
out, mic or line-level inputs, together with two dedicated power, while there is also the option of USB charging/powering.
RØDE Videomic Go II
£99 | rode.com
FOLLOWING ON FROM the phenomenally relief to those moving into audio for
successful original Videomic Go, the Mark the first time: just pop it into the
II version offers a range of upgraded features, hot shoe and plug it into your
including a revolutionary acoustic design that’s been camera via its 3.5mm TRS output
inherited from its siblings, the VideoMic NTG and and you’re all ready to go. The
NTG 5, for a richer and more full-bodied sound, quality of the audio you’ll be able
3.5mm TRS and USB-C outputs, to record will be up a high level, and
an ultra-lightweight (just 89g) way superior to anything that could
design and full compatibility be recorded using a camera’s on-
with the full range of RØDE board mic. In short, the new product
apps. The updated Videomic represents a perfect solution for those
Go II is also super easy to on the go, particularly filmmakers,
use,which will come as a huge vloggers and mobile journalists.
›

AUDIO SPECIAL | BUYERS’ GUIDE
Upgraded JOBY Wavo Mics Line-Up

FROM £68.95 TO £257.95 | joby.com
JOBY HAS MASSIVELY UPGRADED its presence in the audio
market with a raft of new launches, the stand outs of which
are the Wavo PRO and Wavo PRO DS microphones, which are
aimed at the serious filmmaker and content producer. The
Wavo PRO, priced at £257.95, is a premium shotgun mic that’s
equipped with an intelligent hybrid analogue/digital
system to power onboard active noise
reduction and an integrated second
3.5mm mic input. Attention to
detail is obvious throughout, for the filmmaker, no matter
including a simple dedicated digital what orientation they’re working in.
sound management app for iOS and Meanwhile the Wavo PRO DS is a lighter version at
Android, that connects via Bluetooth £228.95 that comes with a slightly more streamlined
to the Wavo PRO to provide creators with user experience, while other products newly launched
real- time and remote visual monitoring by JOBY include the Wavo AIR (£214.95), an instant
of sound input. There’s also independent pairing wireless microphone kit that comes with
dual-mode EQ and customised, shareable double transmitters and two lavalier mics, the Wavo POD
sound set-ups, while LEDs located in the front (£85.95), which is aimed at audio streamers and the Wavo
and back of the mic provide real time monitoring Lav PRO (£68.95), which is JOBY’s first pro grade lavalier mic.
Sennheiser Mobile Kits

FROM £43 | sennheiser.com
SENNHEISER IS FULLY AWARE that many of its more moderately
priced microphones are being used by vloggers and bloggers
or potentially run ‘n gun style filmmakers, and so has come
up with the idea of bundling a selection of products with
some handy accessories and offering them as mobile kits.
Essentially what the kit consists of is a Manfrotto PIXI
tripod and a smartphone clamp, and it’s possible to buy just
these components on their own for £43. If you’re looking
to acquire the kit alongside the microphone you’re aiming to
use, then it’s possible to buy MKE 200, MKE 400 and Xsw-D
Portable Lavelier bundles for £85, £199 and £309 respectively.
Bubblebee Accessories
£20 AND £10.80 | bubblebeeindustries.com
IT’S ALWAYS USEFUL to have affordable accessories to partner
your audio gear, and this is something innovative audio
company Bubblebee specialises in. Amongst the range of
products they provide, we picked out The Windbubble,
a miniature dead cat (that’s thankfully not genuine
fur at all, as is painstakingly pointed out), which is
designed to stop the wind battering your lavalier effectively tuck them out of sight. These come in packs
mic, and the cunning range of invisible lav covers, that consist of three black, three white and three beige
which allow you to easily mount your lavalier pieces of mesh fabric and 30 pieces of Bubblebee’s high
microphones directly on skin or clothes and to quality invisible lav tape to attach them.

BUYERS’ GUIDE | AUDIO SPECIAL
Tascam CA-XLR2dc Mic Adaptor

£535 | tascam.eu
WHILE MANY PROFESSIONALS use the 3.5mm been produced with cooperation from Canon, Fujifilm
input into their camera to record audio, the and Nikon, aims to solve the issue by providing
higher up the audio food chain you go the more an adaptor for mirrorless models – Panasonic
likely it is that you’ll be looking to work with users have already had one for some time -
microphones that feature the more professional that will permit working with higher spec XLR
XLR connection. It’s more secure and less likely microphones. Previously the use of a third-party
to get accidently pulled out, but the problem is that digital audio recorder has been required, but now
an awful lot of hybrid camera models, even some of those that it’s possible to capture high quality audio directly
are otherwise very well specified, don’t come with this input as into the camera, which will eliminate the time necessary to
standard. This handy new accessory from Tascam, which has synchronise sound and footage at the editing stage.
K-Tek Interview Pole

£105 | ktekpro.com
A SERIOUSLY USEFUL, but often overlooked, accessory is the the idea for the KIP came about after the company noticed how
boompole, which allows you to hold a microphone directly tricky it was for news teams to keep a distance from interviewees
above your subject for great audio without anything untoward during the pandemic – with mics even being Gaffa taped to the
appearing in the camera’s field of view. K-Tek is one of the end of a hockey stick! The affordable cost of this 1.8m long 285g
companies specialising in these, and MD Tino Liberatore tells us two-piece product should save you doing the same thing.
Zoom Q8n-4K
£340 | zoomcorp.com
HERE’S A BIT OF A curiosity and, as might be expected capsule delivers a true stereo image without
from a company that has a heritage in recording requiring separate mics and cables. It’s a great built-in
technology, the Q8n-4K is no ordinary solution, but it can be swapped for select Zoom mic
video camera. While it most certainly capsules (available separately) that were
can shoot good quality footage it also designed for the H8 Handy Recorder.
incorporates 4-track audio recording for For the record, footage is recorded in
truly awesome sound quality, which can 4K UHD at 30fps, the lens is an f/2.8
be controlled via its flip-out colour LCD. 150-degree wide angle and there’s
The onboard X/Y condenser microphone support for microSDXC cards up to 512GB.
Deity V-Mic D3 Pro Microphone

£245 | deitymic.com
DEITY HAS A REPUTATION with a 3.5mm microphone jack in fact.
for producing well-priced When plugged into devices that have
audio products that hit a high a stereo microphone input, the V-Mic
standard, and its V-Mic D3 Pro is D3 Pro outputs dual mono tracks, and it
grandly, and perhaps a little optimistically, billed as the can also be adapted to some microphone
world’s first smart microphone. Inside the V-Mic D3 Pro lives inputs that use the mini XLR jack. For the
a microprocessor that digitally shakes hands with the audio more advanced filmmakers, however, one
input it’s been plugged into. The D3 Pro will work with a phone, thing to note is that the mic won’t work with
tablet and DSLR or mirrorless cameras; just about anything Canon EOS Cinema cameras.

Effortless
Audio There are few recording systems
simpler to use than Zoom’s F2-BT Field
Recorder, and one lucky reader received
the chance to win the product plus
personal tuition from Rick Bronks.
UST BEFORE CHRISTMAS we ran
J a competition with a difference,

one that offered the opportunity
to win the highly desirable Zoom
F2-BT Field Recorder along with some
personal tuition from experienced
filmmaker and trainer Rick Bronks as a
valuable add-on. Rick himself is a regular
user of the product, one of the neatest
audio accessories on the market, and
his input guaranteed that whoever’s
name came out of the hat would have
the benefit of his considerable insider
knowledge to ensure they got the very
best out of their prize.
In the end we found ourselves
swamped with entries, proving just
what a hot topic audio happens to be
at the moment. But there could only
be one winner and in the end the name
pulled out of our hat was that of street IN ASSOCIATION WITH | COMPETITION
and social documentary photographer Win Zoom’s Fabulous VIDEO

Michael Wayne Plant. Like so many F2-BT Field Recorder The video above shows Michael’s one-to-one
others who have been brought up on PLUS a training session! Zoom F2-BT audio workshop with Rick.
SCAN TO ENTER
predominately on stills Michael has

Our exciting competition not only gives you the opportunity to
win the highly desirable Zoom F2-BT Field Recorder but also
How to Enter
THE COMPETITION IS OPEN to UK-based
join an audio training session with filmmaker Rick Bronks. photographers who will need to commit
found himself looking closer at what

to making it down to London at an agreed
ROFESSIONAL PHOTOGRAPHERS simplify the process and give you pro-spec date in January 2022 to attend the training
motion might add to his business,

P are increasingly looking to move
into filmmaking, a
service so many
clients now demand, and
audio wherever you happen to be working.
The audio is recorded to an internal Micro
SD card and can subsequently be paired
with footage at the editing stage.
session with Rick. We’ll cover reasonable
travelling expenses and you’ll go away
with the Zoom F2-BT Field Recorder as
part of the prize. We’ll also be producing
a video of the session to be hosted on the
getting on top of audio is Our competition is offering one lucky Professional Photo YouTube Channel.
one of the most significant
and part of that exploration inevitably at the editing stage. I’m also looking to
Professional Photo reader the opportunity Entering couldn’t be easier. Simply head
challenges. It’s a fresh area to not only win this product but to take to the Professional Photo website at
of expertise you’ll need to part in an audio training session in London professionalphoto.online/zoomcompetition
conquer and failure to deliver this coming January with and answer this one simple question:
involves looking closer at how to master record ‘point of view’ interviews with the
top-quality results in this experienced filmmaker Rick
department will massively
weaken your production.
Bronks to find out how to
get the very most out of
Q How many hours of
recording can you
achieve with the Zoom
Fortunately, 32- the F2-BT. Rick is a regular F2-BT Field Recorder using
the requirement for good quality audio. subjects featured in my pictures that can
bit float recording, user of the product and so two AAA alkaline batteries?
and products based knows its abilities inside
on this technology, out, and he’ll be able to The competition will be open up until
such as Zoom’s F2-BT walk our winner through midnight on Monday December 20 and we’ll
“I’m finding myself using motion help to explain more about who they are
then pick a winner out at random and will be
Field Recorder, are now the process to achieve first
in contact to agree a date for the training.
available, which can hugely rate audio every time.
more and more to go alongside my stills,” and thereby add to their story.”
Making Audio
Recording a Cinch!
PRICED AT JUST £180, the ultra-compact Zoom F2-BT
Michael explains, “and in particular I’m Realising that the Zoom F2-BT
Field Recorder can be tucked away in the pocket of a
gadget bag, ensuring it’s always to hand.
Using the device is simplicity itself. You plug in the
provided Lavaliere microphone and pop the recorder in
producing tutorials where I’m filming appeared to tick all of the boxes in terms
a pocket or attach it to your belt, and then hit the record
button and activate the lock to get started. There’s no
need to set the gain or volume of the microphone since it’s
all done automatically. And no matter how loud a person
from my still camera’s perspective with

talks, you’ll never clip or distort your audio while, if they’re
of what he was looking for Michael was

talking softly, you’ll be able to save the day by raising the
volume in post-production without introducing noise.
Having Bluetooth on board ensures that you can Visit zoomcorp.com
VIDEO
connect wirelessly to your smartphone to not only adjust to find out more
an action camera mounted in its hot inspired to try his luck at winning one,
the settings but remotely hit the record button. Meanwhile Scan here to view a film made by back country hiker about the company’s
power is provided by two AAA batteries, which can and podcast producer James Appleton that shows the extensive line-up of
audio products.
provide you with up to 14 hours of recording. Zoom F2 in action and the high quality it can deliver.
shoe. I’m looking for a good quality and prior to his workshop day Rick was
Terms and Conditions: Entries must be received by midnight, December 20, 2021 and to commit to travel to London for a day on a date to be agreed to attend the training,
the winner will be notified within seven days. The winner will be chosen at random from and reasonable travelling expenses will be covered. We’ll also be making a video of the
all of the correct entries. The competition is open to UK residents and employees of training, which will be shared on the Professional Photo YouTube Channel. Entries not
So Smart Media and the prize provider and their immediate families and agents may in accordance with these rules will be disqualified: by entering the competition you’ll be
not enter. The prize must be taken as offered with no alternative. Our winner will need
audio track of my voice so that I can talk able to reassure him that it did indeed
deemed to be bound by these rules.
through my shooting process and then have everything on board that was
pair this commentary with my footage Our Zoom competition proved to be highly popular. required. Unlike a more conventional

COMPETITION WINNER | ADVERTORIAL
technology, and he explained why this

was something that would ensure the
audio recorded out on the street would
sound its very best even if conditions
turned out to be challenging.
“It’s essentially like having a sound
engineer along with you,” Rick says, “and
it just makes life so easy. It means that
you don’t have to worry about setting
levels because 32-bit does it for you
automatically. So you can record the
loudest audio signals without having to
worry about clipping on your track. The
audio might sound low in the mix when
you start to edit but you can simply turn
it up to the level you need and you know
it’s going to sound good.”
Adding to the value of Zoom’s prize
was an assortment of accessories from
audio specialist Bubblebee Industries,
including the Windbubble, a tiny ‘dead
cat’ that’s designed to reduce the effects
IMAGE ©Michael Wayne Plant
of wind on the audio quality, and a

selection of invisible lav mic covers that
allow lav mics to be discreetly tucked
away on skin or clothing to ensure they’re
completely invisible on camera.
And so we headed to the street, where
Michael worked with his new set-up,
recorder, this tiny device is fully output volume, control lo-cut and more. shooting his regular candid images while
self-contained and the audio that’s It’s also possible through the app to pair filming the process using his action
recorded to an onboard microSD card the F2-BT with a Bluetooth timecode camera and adding an audio track via a
via the provided lavalier mic can then be synchronisation device to record and mic tucked away at the top of his shirt
seamlessly and painlessly paired up with write timecode to recorded files, so that was feeding into the F2-BT clipped
footage at the editing stage. it can potentially offer a high level of to his belt. The process worked perfectly,
What’s more, although the device is performance that can satisfy even the with Rick on hand to talk through any
tiny - small enough to fit comfortably in most advanced of filmmakers. on-the-spot queries, and then it
the palm of the hand in fact - and carries Rick also took time to talk was back to the office to upload
a price point that’s well below £200, it through the fact that the F2-BT the audio files and to talk through
still comes with a formidable feature set features 32-bit float recording how to quickly and seamlessly add
and is capable of delivering audio that, as them to the video footage.
we were about to discover, is well up to a BELOW AND RIGHT: Rick and Michael get ready All in all a highly successful
high professional standard. for the shoot by fitting lavelier mics that were day and Michael was delighted with
protected from wind noise by tiny ‘dead cats.’ his new acquisition. “The F2 BT worked
WALKING THE STREETS brilliantly and it was so useful having
Michael was keen to try out his prize in Rick on hand to guide me through
a live situation and so met up with Rick things,” he said. “I was delighted with
on the busy streets close to Liverpool the quality of the audio, and there
Street Station in central London. We was no rustle from clothing or other
headed to a nearby office space to set handling noises to worry about and it
everything up and Rick’s first step was was really straightforward to use. It will
to suggest Michael upload Zoom’s free do everything I need it to and I’ll be
F2 Control app to his iPhone. This is using it extensively from now on.”
where the BT – Bluetooth – part of the
name comes in, and with the app opened More information:
the iPhone became a remote control, ❚ michaelwayneplant.com
with the ability to wirelessly stop/start ❚ zoomcorp.com
recordings, display battery levels, adjust ❚ bubblebeeindustries.com

AUDIO
fit for a
PRO
JOBY is upping its audio game by adding an all-new pro audio line-up to
its highly rated ecosystem of premium video lighting and stability gear.
F YOU EVER HAD any doubts about and wireless mics, should serve to make priced from £43.95-£257.95, with the
I how seriously the big guns are

taking the surging audio market
then the news that JOBY has
launched a completely new family of pro-
the point. There are five new eye-catching
additions to the Wavo line-up, and the
target is very much the professional user.
Led by all-new flagships the Wavo PRO
top-of-the-range models being loaded
with high-end professional features that
are designed to meet the needs of even the
most demanding of operators.
focused products, including shotgun, lav and Wavo AIR, there are now audio products ❚ joby.com
Wavo PRO | £257.95

THE ALL-NEW WAVO PRO is an innovative of sound input, independent dual-mode EQ
shotgun microphone that’s built for and customised, shareable sound set-ups.
storytellers, filmmakers and expert ❚ LEDs front and back to provide real-time
creators on the go. This premium mic monitoring, no matter the orientation.
is equipped with an intelligent hybrid ❚ Seamless secondary mic input for easy interviews or
analogue/digital system to power dual channel recording.
onboard active noise reduction and it also ❚ Onboard -10db safe track for mono or dual channel
comes with a sound management app and recording.
an integrated second 3.5mm mic input. ❚ Auto power mode to
Designed to pair with the latest in switch the mic on/off
mirrorless camera hardware to deliver automatically with
broadcast-standard audio, the Wavo PRO’s the camera.
impressive line-up of features include: ❚ Two audio outputs are
❚ An active noise reduction (ANR) system that leverages offered: analogue
enhanced onboard Rycote technology to process and clear 3.5mm TRS
sounds made from on-the-go creation. output to connect
❚ A simple dedicated digital sound management app for iOS to the camera and
and Android, that connects via Bluetooth to the Wavo PRO to digital USB-C output to
provide creators with real-time and remote visual monitoring smartphone or computer.
Wavo PRO DS | £228.95 - AVAILABLE FROM MARCH 4, 2022

THE MID-RANGE WAVO PRO DS a few key controls for audio content creation.
shotgun microphone shares most of the ❚ A high-pass filter that cleans sound from unwanted low
pro-grade components of the flagship frequencies in real-time.
Wavo PRO, but delivers a more streamlined ❚ An onboard safe track for mono or dual channel recording.
user experience. The full line-up of Wavo ❚ Integrated LEDs to indicate battery and audio levels.
PRO DS features includes: ❚ An analogue 3.5mm TRS output to connect the mic to the
❚ A plug-and-play, simple user interface with camera and digital USB-C output to smartphone or computer.

Tap to find out more | ADVERTORIAL
about JOBY’s new
line-up of audio gear.
Wavo AIR | £214.95

THE WAVO AIR IS an ‘instant-pairing’ wireless microphone
kit aimed at creatives who are looking to explore what
vlogging has to offer. Perfect for delivering tight,
broadcast-quality sound, even at a distance, the Wavo
AIR’s high-quality audio is only outdone by its incredible
modularity, and it’s designed to pair easily with a variety
of custom accessories, and to be placed in any environment, JOBY-designed mounting system that goes
immediately ready for action. The Wavo AIR Kit comes with from magnetic mount lanyard, belt clip or cold
double transmitters as standard plus two lavalier mics and cable shoe mount through to GorillaPod leg clip or
adapters for both cameras and phones. Creatives can pair their other options if required.
wireless mics with audio enhancement accessories, including ❚ The AIR is compatible out-of-the-box with
stability and support mounts or even additional lav mics and smartphones and cameras using TRS and TRRS cables, and
transmitters. Wavo AIR features include: comes with two transmitters for interview situations.
❚ High-quality, 2.4 GHz wireless audio capture technology in a ❚ Long-range wireless capture lets you exit close-up shots and
lightweight, pocketable form factor. still record up to 50m away. Mics can even be placed in distant
❚ Hands-free audio capture with lav mics, including a unique locations to record specific audio far from the camera.
Wavo POD | £85.95

THE WAVO POD IS JOBY’s large-diaphragm, USB condenser
microphone for audio streamers. Prefect for the everyday
podcaster, the Wavo POD features the versatility of both cardioid
and omnidirectional pickup patterns with 24bit/48kHz hi-res
sampling rates. Features includes:
❚ A zero-latency headphone 3.5mm jack, along with a volume
and gain knob with one-click integrated mute functionality.
❚ An included JOBY-designed pop filter accessory to remove
voice plosives, plus a desk stand. A secondary filter is also
available as a separate purchase to shield the back side of the
mic to enable multiple or simultaneous recording angles.
❚ Industry-standard USB Type-C connection for seamless, plug-
and-play use with laptops, tablets and smartphones.
❚ Two ¼-20 mounts on either side of the mic stand to attach
accessories and to enable the mic to be positioned using a
GorillaPod or boom arm.
❚ The Wavo POD is equipped with a detachable base and U
bracket, native ⅜” female screw and included ⅜” to ⅝”
adapter, to easily connect to any boom arm.
Wavo Lav PRO | £68.95

JOBY’S FIRST PRO-GRADE lavaliere mic is designed included foam windscreen to create warm and true tone
to deliver big sound from a small footprint. audio while removing vocal plosives.
The Wavo Lav PRO introduces a high-quality ❚ A 2.5m long, high-quality cable made from soft materials,
lavaliere microphone with discreet capsule which connects to the Wavo Lav PRO for the ultimate
dimensions and professional quality sound. interview setup that minimises transferring vibrations.
While all its functions are purpose-built ❚ The small footprint of the Wavo Lav PRO makes it
to work in harmony with the Wavo PRO easy to conceal the mic while a durable aluminium
and other JOBY audio gear, other key mounting clip keeps it locked into position.
features include: ❚ A 3.5mm TRS connector pairs perfectly with the
❚ A pro-grade capsule and Wavo PRO and standard camera attachments.

Hone Your You’ve got the kit and
you’re ready to start your
Audio
big professional audio
adventure. What are the
grounds rules, however,
and how do you make
Technique sure you’re going to get

truly great results?
F YOU CAST YOUR mind back
I to the time when you were just

starting out as a professional
photographer you can probably
recall the sense of trepidation you had
when you first set out on a professional
job and knew, at the back of your mind,
that all the preparation in the world
wouldn’t truly ready you for the real-
world experience that was approaching.
Well, you got through that, you’ve
now gained experience and confidence,
and in a very short time you’ll feel exactly
the same way about video production,
and you’ll be well on top of your audio
requirements. However, as you look
forward to that first job, what are the
ground rules you should be aware of, that
will help you achieve audio excellence? audio that’s too quiet since this could
You can draw comparisons with be difficult to turn up in the mix, while
photography in this respect. Think, if it’s too loud it can distort, and if that
for example, about your approach to happens then there’s little that can be
lighting, and how you picked up the done to make it sound right. Always
techniques you needed. It’s highly monitor your audio in real time using a
unlikely that you went straight in with set of headphones, or alternatively have
a multi-head set-up that set you huge someone else dedicated to this task. So
challenges in terms of shadows and many filmmakers neglect this essential
reflections. Most photographers will start step: you’ll constantly be checking the
with a simple one or two light set-up focus in your visuals, so why would you
and then work their way towards more choose to let your audio look after itself?
complicated arrangements, and the
same step-by-step approach will also AUDIO SET-UPS
help you on your way towards mastery of already talked a little about different Starting out there are three basic set-ups
more advanced audio situations. mic types that are available and the that you should be looking at initially,
Just remember that you don’t need bespoke jobs they’ve been created to which are working with the microphone
to be a sound engineer to improve the do. Step back and look at the situation on-camera, working with wireless lavs
quality of your audio. In most cases, all you’re filming, and think for a moment and employing boom mics, namely mics
you need is a directional microphone or about your options. Choose the most held close to your subject while they’re
wireless lavalier to enhance your sound straightforward way of achieving your talking, out of the sight of the camera.
and, just like that, you’ve increased audio and don’t use more microphones For those just starting out with audio
your production value, leaving you with than necessary. Just as with lights, the the on-camera mic is as simple as it gets
content that will set you apart from the more you introduce into a scene the more and it will immediately lift the quality of
rest. Then it’s a case of shooting for the complicated things will get. the audio track you’re achieving. It’s as
edit, and always treating your audio as Another key piece of advice is not straightforward as slipping a shotgun mic
being of equal importance to your visuals. to rush things. Do plenty of tests, play into your camera’s hot shoe and plugging
The first thing to consider is proper back some of your audio and make sure it into the 3.5mm input socket. You’ll
mic choice and placement, and we’ve your levels are right. You don’t want notice the difference immediately, and

TECHNIQUE | AUDIO SPECIAL
AUDIO TIPS
❚ Always have one ear listening out for any potentially
distracting noises, such as a hum from a set of lights
or a freezer. On location look to set up away from road
noise or a flight path, or even perhaps a passing train.
❚ Wind can be a serious noise issue and it will definitely
adversely affect your audio track if left unchecked. Try
to protect your microphone as much as possible and
use a wind sock or a ‘dead cat’ – a furry glove that goes
over your mic – to cut out the worst of the noise.
If you’re going to be working in windy ❚ Start your audio track with a sharp noise such as a hand
conditions then it makes sense to a fit a clap so that you can later use this sound as a way of
‘dead cat’ wind sock to lessen the noise.
tying your audio track precisely to your footage.
“in,Don’t be afraid to dive

offer to assist for free
on filmmaking jobs to get
a first-hand look at how
things are done and have
a few trial productions
under your belt before
you take on a full-scale
professional job. ”
if all you’re looking for is a recording of
someone in front of you talking directly
to camera from around one metre away
this could be all you need. your subject by someone who can react to
If you’re looking to step up from here any movements that are required to keep
and perhaps are wanting to record audio it the right distance from your subject.
from a distance that’s further away than The best results will be achieved if the
a shotgun mic will allow, then you need mic is angled at the chin or the upper
to start thinking about your next option, chest from around a metre away, and
namely working with wireless lavalier you should be constantly monitoring the
mics. It might be a step up but again it’s result to make sure it’s up to scratch.
really quite simple. The person who’s Another big tip is to record at least
being recorded will fit the lavalier mic as one minute of ambient sound at your
discreetly as possible – and if they thread location, since at the editing stage this
this up underneath their clothing and can be used to smooth cuts and to fill
attach the tiny mic to their lapel it will be then be able to record two voices at once, gaps, and if you forget to carry out this
virtually invisible. However, you need to perhaps an interview situation where two step then you could struggle to produce a
aware of the Achille’s heel of the lav mic: people are talking to each other. smooth sounding final audio track.
it can pick up the rustle of clothing, so This is a really good way to go whether Don’t be afraid to dive in, offer to
position it carefully and listen out for any you’re inside a studio or even out on assist for free on filmmaking jobs to
problems through those headphones. the streets, but if you do find you’re get a first-hand look at how things are
The subject will have a transmitter, working in a controlled situation then done and have a few trial productions
potentially clipped to their belt, and you you have the third option of a boom under your belt before you take on a
mount the receiver in your camera’s hot mic to consider, and this will give you a full-scale professional job. Just bear
shoe. This can then be plugged directly very high-quality and natural sounding in mind that audio doesn’t need to be
into your camera or a separate recorder audio result. Quite simply the boom mic intimidating. You managed to get on top
and you’re all set, and many systems option is a shotgun mic attached to a of the technicalities of photography and
will come with the option of a two long boom arm, which is held above, or mastering audio is just another
transmitter/lav mic set-up, so you would potentially even below or to the side of step on your professional journey.

A Mic for
Every
Occasion
Moving into audio it soon
becomes clear no single MKE 400 | £179
microphone can cover THE SENNHEISER MKE 400 is a
highly directional compact shotgun
every eventuality, but microphone with integrated features
fortunately Sennheiser’s that’s designed to deliver enhanced
in-camera audio. Simplicity itself
extensive range delivers to use – it can be slipped into a hot shoe and
a variety of options. directly connected to a camera to provide audio
that’s immeasurably better than that which
UST AS WITH still photography, will be supplied by its integral mic – its clever
J the world of motion comes packed

with endless variety, and it stands
to reason that this ensures a wide
range of audio scenarios that need to be
features include built-in wind protection and
integrated shock absorption. A three-step
sensitivity switch enables the MKE 400
to provide distortion-free sound in any
successfully negotiated. You could find environment, while a switchable low-cut
yourself shooting within a run ‘n gun set- filter removes wind noise and rumble.
up, for example, utilising an on-camera Meanwhile an interchangeable 3.5mm
shotgun mic, or alternatively you might locking coiled cable offers compatibility
be filming an interview situation with two with DSLRs and mirrorless cameras, while
or more subjects, each of whom needs to a headphone outlet enables levels to be
be fitted with a discreet wireless lavalier monitored in real time.
mic. You could even be vlogging with a
smartphone, where the audio requirements
are different again, and you’ll need to find a
bespoke solution for every situation.
The answer is to look around to source
MKE 200 | £87
the right microphone for the job, and SMALLER AND EVEN MORE affordable,
fortunately audio specialists such as the MKE 200 features a super-
Sennheiser understand the challenge cardioid capsule that provides focus
perfectly and offer a wide selection of and detail while rejecting unwanted
products perfectly tailored for just about background noise. With no need for
every eventuality. There’s even a highly batteries, this directional mic Is a
regarded range of monitoring headphones highly flexible accessory for vloggers
in the mix, and the brand has been a trusted and videographers alike, and will
partner for generations of filmmakers. enhance your in-camera audio and
bring clarity to your recordings. Like
AUDIO OPTIONS its MKE 400 sibling, the microphone
To give some idea of the wide range that’s features integrated wind protection and
offered to professionals, here’s a round-up shock absorption, ensuring the cleanest
of some the classic Sennheiser products audio recordings possible while shooting
that are available to those working in a video on the move. Meanwhile an included
variety of filmmaking scenarios. furry windshield accessory improves wind
protection still further.
❚ sennheiser.com

VIDEO | ADVERTORIAL
Tap here to watch a Sennheiser video that talks you
through how to achieve better audio for your video.
MKE 400, 200 and XS Lav

USB-C Mobile Kits | £199, £109 AND £99
BOTH THE MKE 400 and 200 and the
omnidirectional clip-on XS Lav microphone
are at the heart of high value Mobile Kits.
These feature a smartphone clamp that’s
made from solid aluminium, with soft rubber
grips to provide a secure fit for virtually all
mobile phones, while there’s also a handy
Manfrotto PIXI mini tripod included with the
outfit that comes with a ball head that can
be positioned and locked in one fluid and
Case Study
intuitive move. All round this is the perfect PRODUCTION COMPANY PURE was set
pocket-sized set-up that’s designed to up by Olie Bryl at the beginning of 2020
partner the creative on the move – hence to promote the work of unsigned musical
the name – and the whole ensemble is artists through its YouTube outlet PURE
keenly priced and is designed to fit snugly WASSS. The results were good enough
into a gadget bag or pouch. for PURE to gain a reputation and to
grow significantly, but Olie realised that
quality levels needed to step up and
consequently he looked around for a
EW 500 Film G4 | £1275 more professional set up that would still
be compact enough to carry easily.
THE PROFESSIONAL’S CHOICE for “We looked at what was available as
broadcast quality sound, the EW the next step up, tested out a few options
500 Film G4 provides the highest and decided that Sennheiser’s MKE
flexibility for sound and field recording 400 would be ideal for us,” Oli says. “We
applications. A robust wireless immediately noticed a real improvement
microphone system in sound quality and the system is
that offers incredibly easy to set up, so it’s helped to
ultimate improve our workflow as well.
sound “We have both the shotgun mic
quality, simple that mounts onto the cold shoe of our
mounting and ease of use, the 48V Gold clip-on microphone provided Panasonic Lumix GH5, which we use when
phantom-power equipped SKP 500 within the kit is a state-of-the-art we’re doing pieces to camera ourselves
turns all wired mics into a wireless professional product that offers or want to capture the sound of our
transmitter. Meanwhile the MKE 2 excellent clarity of recorded speech. surroundings as well as the interviewees,
and we use a lavalier mic for intimate
interviews with artists, which gives that
extra bit of clarity to their voices.
HD 25 Headphones | £129 “Using the MKE 400 system also
gives us a more professional image and is
DUE TO THEIR low weight, ruggedness allowing us to approach a different level
and the option of one-ear listening, the of artist, which is helping us raise our own
HD 25 headphones are indispensable for profile at the same time as producing a
mobile monitoring. The closed-back HD higher level of audio content.”
25 are purpose-designed, professional
monitoring headphones offering high
attenuation of background noise.
Capable of handling high sound VIDEO
pressure levels and featuring an
Tap here to watch
extremely robust construction, these an episode of Pure
headphones also perform exceptionally WASSS, producing using
well in loud environments. Sennheiser mics for audio.

THE MOVE TOWARDS MOTION
IN ASSOCIATION WITH
The Secret of
Awesome
Interviews!
If you’re intending to make commercial
films then you need to learn how to set up a
professional quality interview, and our CVP
expert Jake Ratcliffe is here to talk you through.
ETTING UP AN interview situation
S must be one of the most regular

jobs that a commercial filmmaker
has to tackle and they are
destined to come in a variety of shapes and
sizes. You might, for example, find yourself
working in an office situation, with a bunch
of distracting backgrounds, noise issues
and a mix of artificial light sources. At other
times you could be outside and at the mercy
of the wind, numerous passing distractions
and light that’s difficult to control.
If you want to tap into the booming
market for commercial filmmaking,
however, then you’re going to have to know
how to confront all of these situations, plus
a host of others. Some of your decisions
are going to be based around what gear
you should be taking with you, while you’ll placed to advise on the former, given scenario are likely to consist of as well.
also have to finely tune your interpersonal his wide knowledge of the extensive “Setting up an interview or talking
skills, since the success of an interview will stock carried by this leading broadcast head is a staple for so many avenues of
invariably lie with how well the person in and professional video retailer, he’s also filmmaking,” he agrees. “These can be as
front of your camera is performing. a seasoned filmmaker himself, and so simple as just one camera, a mic and your
While our regular CVP expert, Technical he's equally well up to speed on what the lighting, through to larger set-ups with
Marketing Manager Jake Ratcliffe, is well logistics of a well-prepared interview multiple mics, B or C cameras on longer

lenses and even perhaps the use of selected achieve and maybe sharing with them will also help you to work out how best to
motion accessories, such as a slider, to some of the questions you’re looking to handle the interview going forward.”
add extra interest. You need to be asking ask so that they have time to prepare their People who don’t regularly appear in
yourself at the outset how dynamic you answers. You need to try as much as you can front of a camera might rise to the occasion
want your shoot to be, and there are so to keep them relaxed and at ease. or, conversely, they could panic, forget their
many awesome tools on the market now “Making your subject aware of what you lines and appear hopelessly wooden. Often
that will help you get the job done. and your client need is really important,” you’ll either get what you need in the first
“To achieve a good interview set- stresses Jake. “However, making your take or it could be hard work, since fluffed
up you need to be practicing all the subject comfortable is just as important. lines will then flummox a nervous subject
fundamentals of filmmaking, such as good This is where your people skills are going to still further. The golden rule, even if you’re
lighting, compositional awareness and come in. Have a conversation with them to up against a tight deadline and really need
solid audio. All of these things will need gauge how comfortable they are, and this to capture the sequence, is never to show
to come together on a production and your exasperation, since this will only serve
if you’re weak on any front, to make matters inexorably worse.
then the likelihood is that Autocues might prove themselves
your interview could end up useful here, since they’re a valuable means
looking somewhat less than of popping the words up in front of your
professional.” subject and it will help them to remember
exactly what they’re meant to be saying and
PREPARING will ensure they don't forget key messages.
FOR YOUR SHOOT It also guarantees they’ll be looking down
Whatever the level of interview you’re the barrel of your lens, but that’s not
planning, the starting point will be to necessarily a good thing, and you will find a
talk beforehand to your subject, to explain few downsides with this way of working.
to them what it is that you’re hoping to EyeDirect II “Autocues can be really useful ›

TECHNIQUE | THE MOVE TOWARDS MOTION
accessories to work with depending on the

subject and scenario,” says Jake. “I use one
when creating our YouTube videos, because
their length and in-depth nature requires
me to script out everything I want to say.
However, using them just for prompts is
also a great idea, and it allows your talent
to stay on track but also still deliver their
words naturally. We stock products such
as the EyeDirect II (CVP price £1795.49),
which is a flexible kit that’s designed to
travel, and this allows your subject to
maintain eye contact while reading a script. RODE VideoMic Go II
The device supports iPads and tablets up to
7x10ins and 3/8in thick, and it comes in a
A lavelier mic clipped discreetly onto your
foam fitted rolling case for location work.”
However, sometimes having the subject
“subject’s lapel or a shotgun microphone boomed
gaze directly into camera isn’t the look
that’s required for the production, and
close to your talent are both solid ways to capture
if this is the case then Jake can equally your audio, but different scenarios will demand
suggest other systems stocked by CVP different solutions. ”
that can help you around this. There are
also other approaches, such as setting up
a B-Camera at an angle to your main one
to provide an alternative viewpoint that
you can subsequently cut to at the editing
stage. “This really helps you to change the
feel of a set up,” says Jake, “and it allows
you to break up the interview if you’re not
intending to have much B-Roll over it.”
If you’re going to work with a B-Cam
then it doesn’t necessarily mean that you’ll
need to hire in a second shooter. Set your
second camera up on a tripod and have it
running as you activate your main camera.
It will provide a fixed view of your subject,
but if this is only used sparingly then it can
add the necessary variety you need. Do,
however, aim to work with the same make
of camera, if not the same model, since this
will help to ensure the look, colour and feel
of the footage will match closely.
subject’s lapel or a shotgun microphone available light you might encounter in the
AWESOME AUDIO boomed close to your talent are both solid typical office situation. This could turn out
By its very nature, an interview situation ways to capture your audio, but different to be unflattering, potentially noisy if it’s
will be requiring audio, and it’s crucial that scenarios will demand different solutions. giving off a hum and maybe even a mix of
this is up to a high standard. This can be The golden rule will be to get your mic as sources, which will play havoc when you’re
done in a number of ways, and it’s up to the close to your audio source as possible, since looking to achieve natural looking colour at
filmmaker to decide on the approach that this will give you the best result.” the post-production stage.
they feel will work best for them. Working wirelessly is a good solution, “The lighting you opt for will really
“Arguably audio is far more important and there are excellent products, such as come down to what style the client you're
to nail when conducting an interview than the Sennheiser XSW-D Portable Lavalier Set shooting for is after,” suggest Jake, “and
the image itself,” says Jake, “so making (CVP price £279), that will do the job for a what space and time frame you have
sure you're fully equipped to tackle budget price, while shotgun mics, such as available. There are, of course, different
any combination of talent position and the latest RODE VideoMic Go II (CVP price lighting formulas you can follow, which will
shooting situation is crucial. £99), will also provide a great solution depend on how many lights you can use.
“Different types of microphones, as well without breaking the bank. For example, a three-point lighting set-up,
as alternative positions they may be placed It’s wise to always carry lighting with you which consists of a key, fill and backlight,
in, will change how your audio sounds. A on a job that’s likely to involve an interview is commonly used when lighting people,
lavalier mic clipped discreetly onto your since you don’t want to be relying on the so I would suggest starting there and then

IN ASSOCIATION WITH THE MOVE TOWARDS MOTION | TECHNIQUE
If you set up a B Camera that's

focused in on your interviewees
from a slightly different angle then
you can cut in some alternative
footage to add variety.
exploring how moving and changing your notice, can easily ruin a take or interfere
lights and lighting ratios will change what with your subject’s eyeline.”
the light on your subject looks like.” Embrace the challenge, learn the basics
There are numerous two to three- and make sure you have enough kit to
head battery or mains operated lighting handle every eventuality and you should
From the Ledgo E268 two
kits available, such as the Ledgo E268 be ready to nail interviews, whatever
light location lighting kit
two light location lighting kit (CVP price form they might happen to take. It’s a
£512.99) and the Dedolight 24V Three fundamental of commercial filmmaking,
Head Basic Kit (CVP price £2098.80) , and if you can master the art then
which come with stands and a carrying you’re well on the way to success.
case, and these and other options can be
the perfect one-stop-shop outfit that can ❚ cvp.com
cater for all your lighting requirements.
Finally, just a word about potentially setting up an interview situation on
location, where there are a host of potential
new challenges awaiting. “There are plenty
JAKE RATCLIFFE
of things that can ruin your interview ONE OF CVP’s resident team of
technical experts, and a self-
that are worth keeping an eye on while confessed camera nerd who
shooting,” confirms Jake. “This could be gets way too excited over kit,
such things as noise from people talking Jake’s background mirrors that
in the background or cars, planes or trains
of so many creatives these days.
After graduating with a degree in photography, he
going by. It could be visual things, such took up a freelance career and found that many
as people walking past or other of his clients were asking for video services so,
distracting elements in your rather than turn the work away, he started to teach
himself the filmmaking basics. Having been based
frame. It’s also worth
at CVP for four years now, Jake epitomises the
bearing in mind what’s ‘equipment agnostic’ approach of the company
Dedolight 24V Three Head Basic Kit
behind the camera and devotes his time to advising customers who
position, since distractions might be looking for impartial feedback on which
products to invest in as they look to make the
happening that you might,
same journey into motion.
as a camera operator, not

THE ANATOMY OF A SHOOT
Secrets of
Staying Simple
You don’t need to line up a bank of lights in the studio to achieve a striking
portrait. Paul demonstrates that a single source can still be enough to
create a highly atmospheric end result. WORDS & IMAGES PAUL WILKINSON
IKE SO MANY OF our clients, the
L story of this image started many

years prior to this shoot ever
taking place. Nadina, featured
here, was one of the events team at Le
SELECTING THE SHOT
THE SHOT I’VE PICKED out from this
session to talk about is a studio image
Manoir Aux Quat’Saisons, Raymond Blanc’s of Nadina. Being honest, picking the
world-famous, Two Michelin-Starred images for these Professional Photo
restaurant and hotel, located near Oxford. features is more challenging than
As you might imagine, out of all the staff selecting them for clients! That’s
at Le Manoir, it’s the Events Team that I’ve because an entire shoot has to be
spent the most time with over the years, distilled down to a single image,
making friends such as Nadina along the one that will have appeal to other
way. So, it was an absolute thrill one day professional photographers as opposed
when she popped by the studio to ask if I to the client. I could have picked half a
was available to photograph her wedding. I dozen from this session!
could not have said yes any quicker! I’m not quite sure why the one I
Before the big day itself Nadina and ultimately went with appeals so much away from the background darkens it;
her fiancé, Rhys came to our studio for a to me, but it does. Maybe it’s the eye conversely, moving everything closer
pre-wedding shoot. I love these sessions contact or the harmony in the colours: to the background lightens the scene.
since they give us a chance to get to know Nadina had switched outfits, and the Likewise, moving the light closer to
each other a little better and to work on combined tones in the studio have a the subject softens the shadow edges,
some beautiful images together. During wonderful balance. It also helps that while feathering it while gently rotating
any portrait session I’m looking to create a Nadina is incredibly photogenic. it away from the subject decreases the
diverse set of photographs, with variations The lighting and setup of the image contrast, as more light pings around the
in the posing, lighting, outfits and the are about as simple as they get: a dark studio. All of these things will change
mood. Part of this is because it’s good grey paper background and a single the mood of the image, as you move
business: having a wide range of images 3’ x 2’ softbox fitted to a strobe that’s from an almost black background to one
means there is more chance of the client slightly to camera-right and above the that features tone and texture.
buying some wall-art or maybe an album. eye line. This simple set-up doesn’t Our studio is only about four metres
The other reason I create a mixture, mean that it’s a one-size-fits-all wide, with white walls and a wooden
however, is that I get bored quickly! In any solution though. Far from it, although ceiling. Why mention that? Well, no
other situation that might be considered a I have to say that I love using just a matter what I do with the lighting, there
character flaw, but as a photographer? Well, solitary light because it gives the most will always be some light reflected from
boredom is a valuable trait, as it drives me natural lighting and it almost always these surfaces. If you have ample studio
to keep creating something different. results in atmospheric images. space, you can use reflectors or studio
This shoot was perfect in that it had Tuning things requires fractional flats to gently fill in some shadows. For
everything, from intimate shots of the adjustments of the light, the subject me, the converse is true: if I want to
couple through to gorgeous individual and the camera exposure. For example, eliminate bounce-back, I have to use
portraits. Laugher? Tick. Romance? Tick bringing the subject and the light black studio flats or flags. ›
again. Smouldering? Well, of course!

TECHNIQUE | ANATOMY OF A SHOOT
Early in my career, I was self- a portrait can be made or broken. The

conscious about spending time best portraits have intense eye contact, POST-PRODUCTION
adjusting lights, finessing settings and which leads the viewer to believe the WHEN IT COMES TO post-production,
changing backgrounds. Every minute subject is looking directly at them. I’m not a fan of over-processed eyes. To
not spent pressing the shutter release To get perfect eyes in a portrait, you me, it’s all too easy to make them appear
felt like I was wasting time. But, over need three things: artificial and like something from The
the years, I’ve learned to chat, keeping ❚ The subject needs to be looking directly Witcher. That’s not to say there isn’t a
the subject engaged and entertained into the lens. Yes, I know this sounds place for painting the eyes, just that I like
while finessing the shot. This is always obvious, but in this day and age of my portraits to look completely natural.
time well spent. It’s much better to mirrorless cameras, where you can To that end, I’ve always thought of
capture one or two well-lit images than move the camera away from your eye eye retouching as more polishing than
to output a bunch of crappy ones! during the shoot, it’s essential for your painting. There are dozens of methods
As always, the key to success is in the subject to look into the lens, not at you. out there to help you make the most
layers. In last month’s issue I outlined ❚ There needs to be some light in the of eyes but, as a portrait photographer
my regular routine for taking a RAW eyes. It’s no coincidence Walt Disney who does all of his own Photoshop work,
file through to the finished image, so I always drew a catchlight in the top time is rarely on my side. So, with that
won’t repeat it all here - back issues are corner of every cartoon he ever created. in mind, here’s a speedy way to enhance
still available if you missed it! You need this to add life and sparkle. the eyes in just a few clicks.
For this image, however, the magic is ❚ If required, then don’t be afraid to work
in the eyes, and inevitably this is where in a little Photoshop magic.
ORIGINAL IMAGE
1. Copy the eyes onto a new layer. This

is quickly done by lassoing around
them and hitting CTRL+J (Windows)
or Command+J (Mac) to duplicate that
part of the layer.
2. If, unlike me, you’re an organised soul,
rename the layer ‘Eyes’ so that it’s
easy to find later. I always forget to
name my layers and, consequently, am
forever hunting around to find them
down the line!
3. Convert the layer to a Smart Object
Layer. This can be done in the Layers
Panel - click the burger menu top
right, and select ‘Convert to Smart
Object.’ Converting to a Smart Object
is useful, since it allows you to add a
filter, such as Unsharp Mask, but in
a way that’s re-adjustable as many
times as you like.
4. Apply an Unsharp Mask filter. Use
settings: Amount - 95%, Radius - 6

ANATOMY OF A SHOOT | TECHNIQUE
MASKING THE EYE BEFORE SHARPENING AFTER SHARPENING
pixels, Threshold - 0 levels as a starting This process might sound tricky, but
point. Rather than sharpen the image, once you’ve done it a couple of times it
these settings will allow you to apply becomes second nature and it’s highly
some local contrast, bringing out the effective in terms of bringing out the
magic in the tones of the eye. beauty in the eyes.
5. Now add a layer mask filled with black,
which will hide all of the effects. Do this
by going to Layers > Layer Mask > Hide
All. Alternatively, hold down the Alt key
(Windows) or the Option key (Mac) while
clicking on the small ‘Add Mask’ icon in
the Layers Palette.
6. Now you’ve hidden the layer and its
Unsharp Mask filter, you can use a small,
soft white brush and paint on the mask
to reveal the areas of the image you
want to show. The best way is to paint
white on the coloured area of the eye
while leaving the edge of the pupil and
the white of the eye hidden.
MEET THE PRO

Paul Wilkinson FMPA FBIPP FSWPP is a multi-award- podcasts and more, plus get answers to your questions
winning international photographer, with a boutique and feedback on your images through the friendly
studio midway between Oxford and London. He is forums and constructive critiques.
co-author of the best-selling book Mastering Portrait
Photography and shares his skills and experience with ❚ Mastering Portrait Photography by
other photographers through the free companion site Paul Wilkinson and Sarah Plater is
masteringportraitphotography.com published by Ammonite Press, priced
Build your business and transform your photography £19.99. Available from thegmcgroup.
with hundreds of lighting diagrams, articles, videos, com and all good bookshops.

THE AFFINITY PHOTO TUTORIAL
Build Your
Own Bokeh!
ORIGINAL IMAGE BY @AIBAYE

Gorgeous, creamy bokeh is
something that always looks
good, and if you want to add it
to your scene post capture then
Affinity Photo has some tools on
board to help you do just that.
WORDS AND ADJUSTED IMAGES MATTY GRAHAM
Before
After
NE OF THE hallmarks of a variables and you could end up with a offers professional photographers a
O professional portrait is the use of

bokeh, the specular highlights
in the out-of-focus areas of
your frame that have been created by
portrait image that lacks a certain sparkle.
However, with the help of Affinity Photo
and a donor image you can replicate the
look and feel of bokeh in your frame, all the
second chance to get the feel and look
of the portrait just right, and it takes full
advantage of the potential offered by
Affinity Photo’s Blending Modes. Best of
the combination of great lighting and a while retaining a high degree of control all this whole technique takes just a few
super-wide maximum aperture. Of course, regarding how this effect will ultimately minutes to complete and can breathe new
as any professional will know only too appear in your final image. life into your portrait work through some
well, sometimes it’s tricky to align these Mastering this simple technique simple but effective post-production.

IN ASSOCIATION WITH AFFINITY PHOTO | TECHNIQUE
STEP ONE
COPY THE PIXELS
With both images
opened in Affinity
Photo, make sure that
you’re in the Photo
Persona. If not, just click Photo
Persona
on the Affinity logo in
the top left of the interface. The
first image we need is the donor
bokeh shot, so make sure this is
selected. Hit Command & A to
select all the pixels in the frame
and then Command & C to copy
these to the clipboard. You can
now close down this donor image
as we no longer need it.
STEP TWO
RESIZE THE
LAYER Move
Tool (V)
With just the portrait
image now open hit Command &
V to paste in the pixels from your
donor bokeh image. Next, head
to the Tool Bar and select the
Move Tool (keyboard shortcut
V) which will enable you to resize
the Bokeh Layer to match up with
your portrait frame. Holding Alt
will enable you to resize the Layer
proportionately and, if you hover
over a corner handle, you can
even rotate the Layer as well.
STEP THREE
CHANGE THE
BLENDING MODE
This is where the magic
really starts. Head over to
the Layers panel and change
the Blending Mode from
Normal to Screen, which will
transform the way the pixels
from the Background Portrait
Layer are visible. Now that you
can see the full effect, it may
be worth moving the Bokeh
Layer around one more time
to get the best alignment.

TECHNIQUE | IN ASSOCIATION WITH AFFINITY PHOTO
STEP FOUR Paint

Brush
BRUSH OUT Tool (B)
SOME PIXELS
The effect won’t look natural
if your subject’s face is
completely covered with
bokeh, so some pixels will need
to be removed. In the Layers
Panel, click on the Mask Layer
icon, which is identified by a
circle within a square. Then
head to the Tool Box and
select the Paint Brush tool
(keyboard shortcut B). With
the Brush set to Black and
a Hardness of 0%, start to
Brush out the pixels over your
subject’s face.
STEP FIVE
LOWER THE STRENGTH OF THE EFFECT
Bokeh should be subtle and not overbearing, so if
you wish to reduce the strength of the effect, this is
easily done. All you have to do is to head back to the
Layers panel and then lower the Opacity bar to suit
your own personal taste.
STEP SIX
TAKE CONTROL OF COLOUR
If your bokeh donor layer has colours that don’t quite work thumbnail and it will pair up so that it only changes the colour
you can fine-tune this. Head to the Adjustments icon at the of the bokeh and not your portrait subject. You can then drag
bottom of the Layers panel and select HSL from the menu. the Hue slider to change the colour. Click File> Export and
Drag the HSL Layer just to the right of your Bokeh Layer save the image in your chosen format.

IN ASSOCIATION WITH AFFINITY PHOTO | TECHNIQUE
WHERE TO SOURCE
YOUR DONOR IMAGE
WHEN IT COMES TO actually sourcing a donor image of some bokeh,
you have two choices; find a stock image or shoot a photo yourself.
Stock sites are fantastic resources and are great because they often
have several different versions, in a multitude of colour options, and
they can save you serious amounts of time. However, if you are looking
to shoot your own bokeh it’s fairly straightforward. Just find a good
light source, such as fairy lights or LEDs, and then switch your focus
mode to Manual (MF). Then, with the camera in Live View, just twist
the focus ring on your lens until you see the bokeh rings appear.
CHOOSE THE
ORIGINAL IMAGE: @DANIELMONTEIROX
RIGHT SUBJECT
Not every subject is suitable for the
bokeh treatment and you’ll need a
main image that already has a shallow
depth of field and then you’ll have to
find a bokeh donor partner that features
complementary colours. You’ll be able to
tell very quickly if the match will work and
your final shot will be believable.
More information:
❚ affinity.serif.com
VIDEO
Click here to watch an exclusive video where
Matty talks through this and other useful Affinity
Photo post-production techniques in real time.

BUSINESS
Weddings The arrival of high-quality

Canon EOS R System hybrid
cameras has enabled
wedding professionals like
in Motion Natalia and Vitalie Dukhota

to offer a popular combined
stills and video package.
VEN THE MOST resolute of
E professional stills photographers

can’t ignore the rising
enthusiasm for motion from
their clients, and you only need to look
VIDEO
Above, one of Natalia and Vitalie's wedding
videos, shot with the Canon EOS R5 and part of
the service regularly offered to clients.
around you to see its influence in pretty
much everything from social media
posts through to the popularity of this side of their operation soar.
video-sharing sites such as YouTube. It’s “Everywhere you look people are
something that’s starting to become an embracing video,” says Vitalie, “and we
expected part of the service offered by thought this was something we could get
professional image makers, and those involved in. We’ve always worked with
working in the specialist field of weddings Canon cameras, and the arrival of the EOS
Natalia and Vitalie Dukhota have invested in a trio of
aren’t immune from this demand. Canon EOS R5 cameras plus a line-up of RF lenses to be R System gave us the tools we needed
While some in this market might be able to offer a hybrid stills and video package. to consider offering both disciplines. We
choosing to look the other way for now, were already working with Canon EOS 5D
there are others, such as Oxfordshire- up their Pixidrome business in 2015, they Mark IV cameras, which obviously offer
based couple Natalia and Vitalie Dukhota, were inspired by the increasing availability a great filmmaking facility, but the R
who have seen the considerable of well featured hybrid cameras to System takes the hybrid side of things to
opportunity being presented, and who add a video option to their wedding another level and really opened the door
have responded by embracing it and photography packages, and over the past for us to start marketing our dual service.”
tailoring their services to suit. Having set few years they’ve seen the popularity of The couple initially honed their

ADVERTORIAL | BUSINESS
travel was clear, and the couple took the

bold decision last spring to up their game
and to move from their EOS 5D Mark IV kit
across to a complete Canon R System, in
the form of three EOS R5 bodies and a full
selection of RF lenses.
It was a huge act of faith, one that
required a substantial investment, and
the couple acknowledge that they could
have potentially opted instead for a
mixture of R System camera bodies,
including the EOS R6, as an alternative.
However, they wanted to tap into the
ultimate quality of the EOS R5’s 45MP
sensor and to future-proof themselves
with on-board 8K video capability, while
the full feature set of this landmark
camera ticked every box in terms of what
they were looking for. It’s a move that’s
totally paid off, with up to half of all clients
now opting for lucrative dual coverage,
wedding photography skills through The quality of the stills produced by the 45MP Canon while there have been instances where a
continual practicing and membership of EOS R5 ensures that the wedding images produced are video-only service has been booked.
professional bodies such as the SWPP, up to a high standard and perfect for demanding clients. “There are huge continuity benefits
attending the annual convention to sit that come with working with an advanced
in on workshops and soaking up tutorials hybrid set-up such as this,” remarks
from the likes of Jerry Ghionis and Canon Vitalie. “You’re using the same cameras
Ambassador Sanjay Jogia. Now they and lenses all the time, whether you’re
determined to undertake a similar steep shooting stills or video, and that makes
learning curve to pick up the essentials life so much simpler. Weddings are
of film production and editing, and they complicated enough already, without
spent a great deal of time practicing their having to contend with the technical
craft and learning from the wealth of issues that can arise when you’re
filmmaking tutorials they found online. continually switching gear.
“In many ways the fundamentals of a “It means that Natalia and I can pick
still and motion production are similar,” up any one of our cameras and we’ll know
says Natalia, “in that you need to have instinctively where everything is and
a good understanding of composition, using it will be second nature. They’re
camera angles and lighting, and the completely interchangeable, and that’s
ability to be able to work well with people such a bonus. We also decided at the
under pressure. Obviously, there are outset that we would invest in RF optics
extra skills you need to acquire if you’re since, although the EF adapters are so
shooting video, such as how to achieve easy to use, we wanted to be working
stable footage, creating the components with lenses that were designed from the
to tell a story and handling audio, but if ground up to be part of the R System.
you know your way around a camera then We’ve got three zooms – the 24-70mm
you are already part way there. f/2.8L, 24-105mm f/4L and 70-200mm
“From the perspective of covering a Continuity Counts f/2.8L – plus an 85mm f/1.2L and 100mm
wedding there are also a lot of similarities When they first started to look seriously f/2.8L Macro, the latter used for close
since you’ll need to understand how the at adding video to their mix three years ups of such things as rings and table
structure of the day works, you have ago Natalia and Vitalie started off slowly, decorations. The only EF lens we work
to cover the things that will happen advertising the service as an optional with is the 35mm f/1.4, since there isn’t an
throughout a typical wedding, such as the add-on and experiencing take up from RF equivalent of that just yet.
ceremony, speeches, first dances and so perhaps one in ten of their clients. “Personally, I love working with the
on, and then you need to be prepared to However, even given the devastating 85mm, since it offers such beautiful
capture those special extra moments that effects of the pandemic, which effectively bokeh. I can move close in to subjects who
will define the particular wedding you’re decimated the wedding market for much might be getting themselves ready
covering, and which set it apart.” of 2020 and into 2021, the direction of in a room at home where there are ›

BUSINESS | ADVERTORIAL
cluttered surroundings and, if I shoot wide

open, I can make everything effectively
disappear into a pleasing blur and come
away with a shot that’s clean and has a
beautiful quality. Natalia meanwhile loves
the 70-200mm, since it’s the perfect lens
for her to hone in on subjects to produce
relaxed, candid-style portraits.”
In terms of killer features Vitalie also
immediately points to the Dual Pixel
CMOS AF with Eye detection capability of
the EOS R5, which he’s found invaluable,
and it was one of the key reasons why he
was so keen to work with this camera.
“When you’re covering a wedding you’re
working quickly,” he says, “and having to
grab pictures as you go along, sometimes
in less than ideal lighting conditions.
It’s crucial for us to get the eyes of our
subjects in sharp focus otherwise the VIDEO
picture could be ruined. Both Natalia and
In our video above, Natalia and Vitalie talk in
I wear glasses and could struggle to get more detail about using the EOS R5 in their
everything tack sharp if we were having hybrid wedding photography business.
to check focus, but we’ve both learned to
trust Eye AF implicitly, and it never lets us
down. We use it for both stills and video video in the mix has impacted on the
and it’s a complete life saver.” amount of data that needs to be acquired
and stored, and here the dual memory
Working as a Team card slots featured on the EOS R5 have
It could be quite challenging for a lone very much proved their worth. The couple
stills photographer to add a video service use 512GB CFexpress and 256GB SD
to a wedding package since there is so
much overlap in terms of the things that
“to We’ve both learned
trust Eye AF
cards, and files are duplicated to ensure
there’s an automatic back-up created
need to be covered. This is an area where at the shooting stage. Meanwhile a
Natalia and Vitaly have an advantage
implicitly, and it never Synology NAS Network Storage device
since, being partners, they know each lets us down. We with RAID and the potential to store up to
other well, have experience over several 128TB of data is employed to ensure that
years of how to work in tandem at a
use it for both stills everything is safely looked after, and the
wedding without getting in each other’s and video and it’s a ability to handle and store huge files is all
way, and have always shared the shooting complete life saver. ” part of the modern hybrid mix.
responsibilities during the day rather than The journey to move to a hybrid way
allocate each other strictly defined duties. and Photoshop, with Final Cut for the of working has not been without its
Now that video is in the mix it works video, and again I’ve taught myself challenges and it’s certainly required
in exactly the same way, and both shoot everything I needed to know through lots a sizable investment at a time when
a mixture of stills and motion, with of experience and online tutorials.” many wedding photographers are
a system worked out on the day that The couple generally shoot video in 4K, still recovering from the shock of the
guarantees the fullest and most efficient which they charge a small premium for, to pandemic. However, Natalia and Vitalie
coverage. “We might have areas where give themselves some leeway in terms of have proved that those brave enough to
it makes more sense for one or the other cropping if necessary and, while they’ve go full pelt into providing such a service
of us to undertake a certain job,” says not to date worked extensively with 8K, are well placed to substantially improve
Natalia, “so I might cover the preparations Vitalie is delighted to have it on board on the income they can achieve from a
of the bride and her party while Vitalie and can see a time where it will come into single event and, by keeping it in- house
is with the bridegroom, but overall we its own. “It’s a means of future proofing and being in control of all the elements,
share things out between us and we what we’re doing,” he says. “I might, for they’re benefitting substantially from the
know instinctively what we’ve got to do example, shoot from the back of a church inexorable move towards motion
and make sure that between us we get and if I have 8K video files to work from that’s taking place right now.
everything we need on the day. we could zoom in at the editing stage and
“In terms of editing that’s my side of potentially give ourselves two distinctly More information:
things, and I handle both the stills and different framings to work with.” ❚ pixidrome.co.uk
the video. I’m working with Lightroom Not surprisingly the move to include ❚ canon.co.uk

| COMPETITION
WIN a Mentoring Session

with Sanjay Jogia!
We’re offering Professional
Photo readers the chance to
win a two-hour one-to-one
portfolio review and mentoring
session with top wedding
specialist and Canon UK
Ambassador Sanjay Jogia.
E’RE ABOUT TO head into the
W 2022 wedding season, and

what better way to prepare
yourself for an exciting year
ahead than to have the chance of an
exclusive two-hour one-to-one online
portfolio review and mentoring session
with one of the country’s leading experts
in this genre, Canon UK Ambassador
Sanjay Jogia? A multiple award winner,
Sanjay’s outstanding work has earned
him international acclaim, and he’s
hugely respected by his peers as a trainer
and educator, making him ideally placed
to give our lucky winner a wealth of
invaluable advice and feedback.
What’s on offer?
Put your name into our digital hat and you
could be in line for a very special prize,
one that comes with the potential to lift How to Enter
your wedding and portrait photography TO BE IN WITH A CHANCE of winning an online wedding photography
to the next level. Sanjay’s company, Eye mentoring session with Canon Ambassador Sanjay Jogia simply head to
Jogia Photography, specialises in wedding the web address below or scan the adjacent QR Code. Fill in and submit the TAP TO
photography of the most demanding online entry form between the opening date of 10am GMT on March 1,
ENTER
kind, destination weddings all over the 2022 and closing date of midnight GMT on March 31, 2022 and you will be
world, along with Indian weddings, and entered into a free prize draw. Terms and conditions apply. Only one entry
he’ll be using the considerable expertise per person. UK 18+ only. Internet access is required for entry.
he's acquired over the years to deliver ❚ For full terms and conditions please visit www.professionalphoto.online/
constructive feedback and valuable sanjayjogia and fill in and submit the entry form you'll find there.
insights on our winner’s portfolio.
“The first thing we look at when
reviewing an image is the impact it storytelling, framing and composition.” selection. The second part of the session
creates,” he says. “Then, when this Sanjay will also spend time talking consists of an informal conversation with
settles, we can go beyond this and start through how images within the portfolio Sanjay that will focus on coaching and
to look at such things as colour, focus, work together, and he’ll be adding his advice on the elements you would like to
lighting and the technical details of the constructive criticism and advice and develop further, or explore on the
picture and then its strengths in terms of suggesting ways of strengthening the next part of your journey.

Image ©Gary Hill FBIPP
BUSI N E S S: JOI N T H E PROF E S SION A L S
The British Institute of

Professional Photography
With a history dating back 120 years
the British Institute of Professional
Photography offers a wealth of benefits,
including qualifications, networking
opportunities and top-quality training.
HATEVER LEVEL you’re at as Photographers work in a business that is of them will be perfect for your needs.
W a professional photographer
you’re undoubtedly going
to benefit from being
a member of a professional body
constantly evolving and, by being fully
immersed in the industry, you stand the
best chance of being up to speed and
able to cope with every challenge the
On offer is a chance to rub shoulders with
other like-minded creatives who are
likely to be facing the same challenges
and issues you might be yourself and,
and, while your relationship with the profession will inevitably throw at you. by belonging and playing an active role,
organisation you choose to become a It’s the reason why we’re running this you’ll be able to network, stretch yourself
member of will undoubtedly change as series, with the aim being to profile all of to achieve higher things and prove to
you progress through your career, that the major professional associations and to the outside world that you’re a genuine
feeling of belonging and sharing with explain what each of them has to offer. All professional with proven skills and the
the community will be there for life. have a different identity and one or more ability to offer a high standard of service. ›

BUSINESS | PROFESSIONAL BODIES
The British Institute of

Professional Photography
HE FULL NAME of this Young people looking to enter the
T particular professional body

might be a bit of a mouthful
but CEO Martin Baynes is keen
to spell it out in its entirety wherever
industry are also being encouraged
through the setting up of a scholarship
programme that will be open to two
photographers aged between 18-25. The
possible since his feeling is that it truly successful pair will enjoy considerable
sums up what the organisation is about, benefits such as twelve month’s free
while also paying due deference to its membership of the BIPP, a full year-long
impressively long history. support programme from ambassadors
“It’s all about our identity,” he Aneesa Dawoojee FBIPP and James
explains, “and the word ‘professional’ Musselwhite FBIPP, five online tutorial
in there is prominent as it should be, classes, portfolio reviews, a personal
and the full name also taps into our long one-to-one studio work experience day
heritage and the fact that we have 120 and the benefit of sponsored entry into
years of history behind us.” the end of year National Awards.
Since Martin arrived two-and-a-
half years ago the emphasis has been Who is it for?
on modernising the organisation and Right at the outset the BIPP sets out
bringing things very much up to the what the expected journey is within
requirements of 21st century working the organisation, and this covers
life. For example, there have been everyone from those just entering the
observations from some quarters that profession through to others who are
the BIPP, reflecting perhaps the wider fully established professionals. New
nature of photography as an industry, members, for example, can access
felt too white, middle class and male, member benefits and receive one-
and to address this issue an Inclusion to-one and group mentoring and,
Committee was set up in 2020 to when they gain their Licentiateship,
advise on how education programmes they acquire BIPP voting rights and
could be created that would embrace
Image ©Gurvir Johal FBIPP
the opportunity to work on a regional

and involve the broadest spectrum council or as a board director. They also
of people. “We’re not perfect yet,” have the right to use the BIPP logo on
Martin observes, “but we are very much their website and marketing material.
committed to making changes.” Move up to Associate level and you
can then mentor members to their

LBIPP, give regional talks and start the
training to become a judge, while those
who become Fellows can mentor and
judge, give talks and represent the
BIPP through giving presentations
to universities.
“The BIPP is there for professionals
from all walks,” says Martin, “not just
those working in the fields of weddings
and portraits. Our qualification process
Image ©Sue Cunningham ABIPP
is recognised by organisations such as

the Defence School of Photography, the
Metropolitan Police, Rolls Royce, Venture
Studios, BAE Systems, Patient Focus and
numerous government departments and
industry bodies, and we’re approved by
HMRC as a professional organisation.”

PROFESSIONAL BODIES | BUSINESS
What do you get?

THE LIST OF BENEFITS is long and
” When a member joins the BIPP, we aim
includes the opportunity to be part of a
to assign them a mentor specific to the
supportive professional community, to sector they work in or might be looking to
have portfolios constructively critiqued qualify in as soon as possible. ”
and to attend discounted workshops.
Martin Baynes, The British Institute of Professional Photography CEO
“A cornerstone of the BIPP is its highly
regarded mentoring system,” says talks and workshops to attend. The best products from trade partners and a copy of
Martin. “When a member joins we aim regional pictures are automatically entered the quarterly magazine ‘The Photographer.’
to assign them a mentor specific to the into the BIPP’s National Print Competition, Qualified members also feature in the
sector they work in or personally might be one of the main events on the calendar. BIPP’s ‘Find a Photographer’ directory and
looking to qualify in as soon as possible.” All members are given discounted rates all members can apply for free to join the
There are nine regional groups spread to enter and the process is meticulously Federation of European Photographers
across the UK, each of which has a critiqued by a professional panel of judges. (FEP), enabling them to become a Qualified
chair who acts as a point of contact for Other benefits include 24/7 Free Legal or Master Qualified European Photographer
members and there are social meet-ups, Support, discounts on insurance and and participate in FEP Competitions.

BUSINESS | PROFESSIONAL BODIES
Image ©Ian Chapman LBIPP

Image ©Jonathan Beer - Hon FBIPP
Qualifications
ONE OF THE MOST important aspects
of BIPP membership is the chance to
go through the qualification system,
which provides an internationally
recognised benchmark in
professional photography, and
demonstrates the excellence and skill
set of the individual. Candidates in
each category need to submit a panel
of 20 images and accompanying
supporting evidence, which is then
assessed by a judging panel against a
series of exacting standards.
There are three qualifications,
each reflecting increasing levels of
experience, skill and achievement:
Licentiateship (LBIPP) Associateship
(ABIPP) and Fellowship (FBIPP).
How to Join What Does it Cost?

THE BIPP IS VERY MUCH seen as a “We offer those joining the chance to COST OF MEMBERSHIP is £18.75
fully professional body, which means receive mentorship to hopefully achieve a month, while students have a
that you need to demonstrate you’re their licentiateship inside twelve discounted yearly rate of £35.
a working photographer. This might months,” says Martin, “and we also
deter some from feeling they can join, insist that those joining us have public
Tap here to head to the
but Martin is keen to emphasise that liability insurance, which is a measure BIPP's membership
the body is very welcoming and that that they are taking the profession signing up page.
a transition period will be offered to seriously. Without wishing to sound
those not full time just yet who need disparaging, we’re not a camera club
to work up to the necessary level. and we’re here to assist those looking to
There is also a special membership make revenue from being a member of
level at a reduced fee for students. the photographic profession.” More information:
❚ bipp.com

PROFESSIONAL BODIES | BUSINESS
MEET THE MEMBER:
Beccy Lane ABIPP

RCHITECTURAL PHOTOGRAPHER
A Beccy Lane started her career

assisting a PR photographer for
five years following graduation
from Manchester Polytechnic but moved
into her specialisation over 30 years
ago after setting up on her own and
being encouraged by a neighbour who
was an architect. She signed up to the
BIPP shortly afterwards and has been a
member ever since, having been a proud
qualified Associate – ABIPP - for the
vast majority of that time.
“I joined for a number of reasons,”
she says. “For a start I felt that it would
be good for me to seek to qualify with
the BIPP to give my clients an extra
measure of my competence. It was also
a really important opportunity for me to
network with other photographers.
“From a social point of view committee for a number of years now Being able to talk to clients about
that’s important of course, but and, as part of that role, I’ve had to her BIPP membership is also something
it’s also given me a network of attend events and workshops that that benefits Beccy, since she, like so
other commercial photographers who are aimed at wedding and portrait many other photographers, is facing a
I know and trust, and we’ll often look to photographers. On paper at least these continual struggle from some quarters
pass jobs on to one another if we’re not wouldn’t necessarily look as though to justify her status as a professional.
available on a certain date.” they would have much relevance to me, “For those who don’t know that much
Beccy also acknowledges the but I’ve learned something from all of about architectural photography the
importance of mentoring within the them, whether that be how to deal with feeling can be that I just need to turn up,
business and was herself helped when a client or a lighting tip, and that’s been stand in front of a building and take a
she first signed up. As part of the BIPP’s tremendously helpful.” quick picture of it,” she says. “Obviously
philosophy to partner new members there is so much more to it than that,
with mentors to help them achieve their such as having an understanding of
Licentiateship she’s also now helped to different lenses and how to use natural
mentor other photographers working in and additional lighting.
the architectural genre, and she’s more “However, the fact is that these days
than happy to pass on her expertise people can take a decent snap on their
and thoroughly enjoys the experience. smartphone and, for some, that will be
She also works as a judge for the BIPP’s good enough. It means that I always
National Competition, and found the have to make sure that I come away
job of critiquing the work and getting with a better picture than the one they
involved in creative discussions with could have taken themselves, and it can
fellow judges both a rewarding and be a case of educating people regarding
instructive experience. what they will get if they employ a
“It’s so important to never stop reputable professional. Being a member
learning,” she says, “and that’s of the BIPP is very much an
something I’ve been given the ongoing part of that process.”
opportunity to do through my long-
standing membership of the BIPP. ❚ manchester-architectural-
I’ve sat on the North West regional photographer.co.uk

LISA DEVLIN
How not to
suck at selling
Ok, so you may be a whizz at your
marketing, as so many photographers are,
but what about your selling skills? Lisa
takes a long hard look at how to lift that
crucial side of your business.
OW MUCH ARE you marketing one of my mentoring students. It’s not
H your business? I’m willing to

bet you’re currently doing more
than almost anyone else you
know who’s not a fellow creative. How
marketing that you suck at - it’s the
nurturing and converting of an enquiry
into a sale where the problem lies.
Once I realised that this is where I
many people have you encountered out was letting myself down, I started to
there who have created a website or even apply diligent processes and tried and
know how to update and manage one? trusted strategies. To my surprise, I not
How many run social media campaigns only increased my conversion rates and
and show up on their channels regularly, bookings but, dare I say it, I actually
create ads on Facebook or Google and started to enjoy the selling process.
know some of the principles of SEO and, It’s not that I’m like Tom Cruise in Jerry
crucially, how to apply them? Maguire yelling ‘Show Me the Money!’ but
Can you think of anyone? I’ll bet I do get a thrill out of making a sale.
the answer is no. Because pretty much The really great news is that selling
every photographer I’ve met is already isn’t as hard as you might think. First of
marketing way above and beyond what all, we’re not sitting in a godforsaken
most other businesses do. In fact, other office, cold calling people who have
companies will probably employ multiple never previously shown an interest in
people to fulfil the roles you’re taking on. our service. We’re dealing with potential
There will be a person or a department customers who have made the first move
just for the socials and another for SEO, and are already warmed up. Then, you do
and you can bet those people will not this one thing - and this is sales 101, the
be the ones designing or managing the very first and last thing you learn at an
website. You’re performing all these roles imaginary sales school. You identify their
and that’s before you even think about at promoting our photography? The needs and wants and then show them
admin or lifting an actual camera. trouble is that all photographers are how you’re going to accommodate these.
When photographers come to me already going above and beyond in So, if a couple getting married is
for mentoring, the first thing I do is to terms of marketing. When a couple looking for a decent set of pictures and
check out what they are already doing to starts their wedding planning journey doesn’t want it to feel awkward, this
market their services. Even those right that quickly becomes apparent, and is where you have the chance to step
at the start of their careers are likely to they will encounter so many excellent in to sell your service. Us Brits have a
have set up an Instagram account or have photographers who are superb at tendency to be uncomfortable in front of
been picking up jobs via word of mouth. marketing. If that’s the case, then cameras - at least 90% of my clients will
Yes, that’s marketing too when you think where is the disconnect occurring? at some point tell me that they don’t like
about it. It’s all about getting people to having their photo taken – and if you can
talk about you and refer you for work. Converting to Sales demonstrate you know what you’re doing
So, what’s the problem? Why are The fact is, this is the point where so and can provide them with what they
we all not reaping the rewards of our many will fail. Why should this be? need in a relaxed and professional manner
amazing marketing skills if we’re so great Here’s the truth that I tell every single then you’re likely on to a winner.

LEARNING TO SELL | LISA DEVLIN
If this all sounds like

something you want
to explore more, scan
here to access Lisa’s
Three Magic Emails
online workshop.
my ‘Three Magic Email’ sequence via my

Studio Ninja studio management system.
The purpose of these is to funnel the
clients into a Zoom call with me and once
that happens I work with a sales script.
This might sound like a lot, but having
a structured method cuts out a lot of
the guesswork and saves so much time.
The first email is an autoresponder
that reassures people that I have their
enquiry and will be in touch when I’ve
checked their date for availability. The
next email is mostly from a template,
but I will personalise parts of it using
the information from the contact form.
This might be talking more about their
wedding or them as a couple, and it’s
designed to build up our relationship and
to connect us more. If they don’t click on
the link in that email to book a Zoom call
with me, and I want to shoot the wedding,
then I’ll follow up with a third email that
goes deeper into relationship building.
The sales script I use on the calls is
designed to help them feel guided, to
reduce their stress about the wedding
photography and to show that I’m the
expert they’ve been looking for. Yes, we
Starting the Sale “ Do this one thing - and could just chat, and most photographers
I’ve devoted the intro text on my website will do that, but it’s incredible the
to addressing these concerns because, this is sales 101, the very difference having a script can make. The
right from the get go, I want clients to first and last thing you learn call feels more structured and I help them
feel I’ve got their back. I understand their to identify those all-important needs
needs and wants and right away I’m at an imaginary sales school. and wants themselves and then it’s
showing how I can accommodate them.
You identify their needs super easy to show how I can help.
I’m also setting up my sales process.
This continues via my contact form. My and wants and then show More information about Lisa:
❚ photographyfarm.co.uk
rates are not visible on my website until
someone fills this in and not only does this
them how you’re going to
„ ❚ @devlinphotos
then reveal my charges but it also triggers accommodate these. ❚ @photographyfarm

PRO ACADEMY TAP TO
ENTER
Underwater
Wonders
There’s a whole new underworld world packed full of
Time to
TURN
potential just waiting for photographers to explore, and our
challenge this month is to head out and take a closer look. PRO
ASSIGNMENT NINE:
UNDERWATER PHOTOGRAPHY
HE WORLD BENEATH the waves
T is a truly amazing place, and one

that can be explored in a variety
of ways. You could ‘dive in’ big
time, just like our Nikon expert this month
Alex Dawson, who has made underwater
exploration, and the photographing of
wrecks in particular, his speciality, with an
awesome portfolio to show for it.
While some of us could aspire to follow
in his giant footsteps you can also get
involved in photographing the underwater
world in a much less fully involved way, and
there will still be plenty to see in shallower
waters, particularly in overseas locations
where the water is clearer, and there are
also rock pools to explore that could yield
great images closer to shore.
For those with the urge to get their feet
wet there are Nikon compact models such
as the Coolpix W150, which is submersible invited to enter just one challenge or to go How to Take Part
up to ten metres, while there’s a WP-N1 the whole hog and take part in them all. You don’t need to be a professional
housing available that’s designed to work We’re inviting you to send across your photographer or a Nikon user to take part
with the Nikon 1 J1 and J2 cameras and best single shot from the assignment to in Pro Academy, and don’t be shy about
VR 10-30mm zoom. Others who prefer our expert team at Professional Photo and, sending in your shot even if you feel it’s
dry land could take a trip along to their if you’ve met the required standard, we’ll perhaps not up to the high standards of the
local aquarium, with some great photo send you back an e-certificate to prove the work from Alex that you can see here. It’s
opportunities available once you master fact. Let us know that you’ve successfully also about learning and rest assured we will
the art of shooting through glass. completed the first six assignments and be making allowances for newbies!
If you’ve been following this series you’ll receive a further e-certificate to Head to the Professional Photo website
you’ll know the ground rules by now. We’re confirm that you really are an excellent and upload your shot for Assignment Nine
running Pro Academy in tandem with all-round operator! It’s not a competition, – Underwater Photography and make
the excellent Nikon School and there are there are no prizes to be won but you’ll sure you fill in your email details. Our team
twelve challenges in total, so you’ll have have the satisfaction of knowing that will assess your shot and, if you’ve met
plenty more chances to earn those coveted your skills have been recognised and it’s a the required standard, you’ll receive your
certificates! As always, you’re cordially chance to dip into some fresh genres. e-certificate directly from us. ›

PRO ACADEMY | TIME TO TURN PRO
LEARN WITH THE

Challenge Nine: NIKON SCHOOL
Underwater Photography WITH MANY OF its courses
now online, training via the
THE UNDERWATER WORLD is one that Nikon School really is open
very few of us ever get the opportunity to to everyone, with a wide range of well-
explore fully, and yet it’s bursting at the priced learning available to photographers
seams with picture opportunities. Those at all levels and using any brand of
who master diving skills have the chance to equipment – although Nikon users will
spend some time in an environment where get particular value from the content.
everything is so very different and, along Head to the Nikon School website to take a
with the wildlife, which is a rich source of look at what’s on offer and to see what you
images in itself, you might also have the could sign up for, with everything from
chance to explore sunken wrecks, which are lighting technique through to running a
themselves full of intrigue and mystery. digital darkroom, mastering a particular
With cost effective ways of taking a piece of Nikon gear, filmmaking and even
camera beneath the waves now freely one-to-one tuition all available, along
available it’s also possible these days to with location courses and experience days
achieve some brilliant images while still in the UK and overseas.
staying in relatively shallow waters. If on ❚ nikonschool.co.uk
your holidays you travel to one of the many
MORE UNDERWATER TIPS ▸

Tap here for tips from the Nikon
places in the world where the waters are School on how to improve your
underwater photography.
warm and crystal clear then even a simple
snorkelling trip can yield some great results,
and you might only need to be diving down a NEWSLETTER SIGN UP ▸
metre or so to find yourself surrounded by a Sign up here for the Nikon School
unique mix of life and colour. Newsletter, filled with information
Don’t forget aquariums as a further source on upcoming courses and events.
of underwater imagery. We’re blessed by
some incredible locations around the UK
where you can observe life beneath the
waves from behind glass, and if you turn off
the flash and move close enough to cut out
the reflections you can join those intrepid
Meet The
underwater explorers! Pro Team
PROFESSIONAL PHOTO:
TIPS Terry Hope
FROM THE
Technical Tips with Neil Freeman TOP

Terry is our editor and is
inevitably to be found with
NEIL VERY MUCH GOES along with Alex’s “The theory goes way back,” he says, a camera in hand, heading
points about working with the widest “and it’s about the relationship between off on another assignment.
possible optics underwater and using colours. Examples of good complementary He’ll be the one looking through all of
macro techniques at times to reveal some colour combinations are red and green, the submissions and making the call
of the stunning detail that can be found yellow and purple, orange and blue and regarding who will have earned that
beneath the waves. “Stop down as much green and magenta and, when you start to cherished e-certificate!
as you can,” he advises, “to make sure you recognise which colours work together in
have the maximum depth of field.” this way, it becomes second nature to look NIKON SCHOOL:
Colour should also be something that’s for natural examples out there. Training Manager
very much on your mind when you venture “When working underwater an Neil Freeman
underwater, and Neil is a big advocate understanding of this theory could be Neil is one of the most highly
of the Colour Wheel system, which acts something that helps you spot promising respected trainers around,
as a useful guide when you’re thinking situations and then it should be possible in and each month he’ll be
about which colours might potentially be post-production to dial back any natural handing out sound technical
complementary to one another. haze in the scene to make results clearer.” advice regarding how you might meet the
particular challenge that’s been set.

TIME TO TURN PRO | PRO ACADEMY
Alex Dawson Underwater Specialist

Each month, we’re featuring a top professional from the TIPS
genre we’re covering who will share some handy tips and tell FROM THE
us what they find so compelling about their chosen speciality. TOP

STOCKHOLM-BASED ALEX first became
certified for scuba diving 28 years ago
and it didn’t take long before he had the
urge to share views of the wonderful
new environment he was encountering
with everyone. “There are so many
people on this planet that have never
wanted, or been able, to put their heads
underwater,” he says. “That’s when I
realised I would like to be their window to
the underwater world.
“I started out with a compact camera
which, in those days, shot film. That
was a challenge of course, since it
was only possible to shoot one roll of
transparency film per dive, and this was
always Fujifilm Velvia 50, rated at ISO 64.
I was doing around 100 dives a year and
shooting a single roll of film on each one.
“I moved across to Nikon cameras in
the form of the F90X in 1999, and used
this in an underwater housing. In 2004 I range that can cope with underwater
moved across to the Nikon D70 and since conditions. Lenses should be as wide as
then I’ve had more or less every model possible, at least 20mm and preferably 12-
Nikon has released. I’m now working 16mm, since lighting falls off quickly and
with Z System cameras and have recently you need to get close to your subject. Shoot
become one of the Z Creators.” with ambient light where you can and hone
Alex has become known for his your post-production skills.
incredible imagery of caves and wrecks, “The most important thing is be a really
but these weren’t subjects he covered good scuba diver/free diver,” he says. “You
regularly back in his early underwater need to be able to keep your bounce/trim
days. “I started out mainly shooting right at all times, while managing gas
macro images with my compact,” he consumption and depth, and it’s crucial not
recalls, “but then got the urge to shoot to get carried away by what you’re seeing
underwater landscapes. through the viewfinder. Many experienced
“For the first 12 years I never divers get a camera in their hands and
photographed wrecks at all. That suddenly lose track of all the essentials.”
only started in around 2009 when the
Nikon D3 was released, and I could start Camera Gear
shooing with only ambient light at have the capacity to output 30-70 lumens. Currently Alex is working with a Nikon Z 9
greater depths where there’s less light. “The big difference with wrecks versus and Z 7 II for stills and a Nikon Z 9 and Z 6 II
From that point onwards I made wrecks marine life is that with the former you for video, recording to an Atomos Ninja V
a speciality and then, in 2019, I received always know what you’re going to get,” he recorder. His cameras are safely enclosed
my cave diving certificate and now I’m says. “The wreck won’t move or change, in a Nauticam Z 7 II housing with a 9-inch
shooting these regularly as well.” and the only variables are visibility and the glass dome, while he also uses a Nauticam
With a background in commercial lights that you are using.” housing for his Ninja V. Alex’s go-to
and fashion photography Alex is using In terms of advice to those who might underwater lenses are the AF-S Nikkor
the lighting skills he learned to set up be shooting underwater for the first time, 8-15mm f/3.5 – f/4.5E ED Fisheye and the
inviting underwater scenarios, and he’s Alex recommends working with a camera Nikkor Z 14-24mm f/2.8 S.
working with specialist high powered that has the ability to shoot in RAW and
Bigblue and ERA Underwater units that which, like the Z 7, offers a wide dynamic ❚ alex-dawson.com

BUSINESS | TIME TO TURN PRO
BUSINESS
Small
Business
Survival
When Louisa Peacock
became seriously ill it
could have threatened her
business, but the systems
Time to she’d implemented during
TURN lockdown meant it was
PRO able to run itself while
she was out of action.
THOUGHT I’D seen it all, after the
I last two years we’ve all faced, but

in the run up to Christmas, during
my busiest time of year with plenty
of client bookings in my diary, I faced my
worst business nightmare. I checked into
hospital with pneumonia and, just hours
after being sent home, I was back in an
ambulance, after further complications.
Fortunately, I survived the experience and
was eventually able to go home, but with
strict doctors’ orders to rest, rest, rest.
At this point I knew I wouldn’t be able to
throw myself back into my business for at
least three to six months.
This left me with the soul-destroying
task of cancelling some new clients I’d
worked so hard to get, although many hour putting in place various systems confirmed the date for their photo shoot,
were understanding and willing to and processes for my business to live by. or I’d be in the sales room and not know
postpone their shoots for a while. Yet I set about making ‘rules’ for everything, the precise cost of my own goods. On the
there was the more immediate question from marketing and social media through odd occasion I’d come away having barely
of how to finish off my pre-Christmas to- to the photo shoot itself, editing and made a profit on my job. I knew that if I
do list and make sure those families who in-person sales. Above all, I figured, these could get out of my own way, I could have
came to me for a festive photo shoot got systems would be on hand to help me a more predictable income.
their images and prints in time. Above all, provide the best possible customer care. That’s when I came across the excellent
how could I make sure my clients would Prior to Covid, I was, to be frank, training of Julia Kelleher, an American
remain looked after and happy? getting a little fed up with my own lack of portrait photographer specialising in
consistency. Sometimes I’d pull out all the babies and families, who is at the moment
All Systems Go stops and offer clients a clean, slick way absolutely killing it with her business. She
As some luck would have it, during of doing business. Boom! At other times, spoke a lot about client ‘on-boarding’ and
lockdown I’d spent many a mundane however, I’d forget whether I’d even as I read this it made total sense.

TIME TO TURN PRO | BUSINESS
Client Workflow
This is by far my most helpful system
yet. You basically want to write down,
from start to finish, the various steps you
want your ideal client to go through when
working with you. From the very first
enquiry phone call when they know little
about you, through to the in-person sales
meeting: what needs to happen to ensure
they have the best possible experience?
From my sick-bed I was able to check
where all my clients were on my workflow
whiteboard, which is huge and features
over 40 stages! My workflow always starts
with me posting out an introductory
leaflet about my services to new enquiries,
so that they can get a real sense of my
brand and touch and feel the quality of
what I’m offering. Way down towards the
end of the workflow checklist I’m ticking
boxes on whether I’ve packed their albums
and wall frames using my branded tissue
paper and if I’ve included the ‘after care’
postcards I made especially.
If it sounds geeky, it’s because it is!
And proudly so. No stone is left unturned,
and everyone gets the same treatment.
Even when my brain was struggling to
remember things, one glance at my
whiteboard and I knew what I needed to
do with each client and if I had any leeway.
Old Fashioned Marketing

I spent a lot of lockdown time designing
branded promotional materials, from
This process basically means booklets about my studio through to
Louisa fell ill at the worst
guaranteeing that each mum who possible time but was saved helping families prepare for a newborn
enquires with me - long before by her back-up systems. photo shoot, advice on what to wear
they commit to booking - becomes and what even is an ‘in-person sales
increasingly familiar with my services, appointment?’ Most clients don’t realise
my style and what I stand for. They’re this will take one hour and a half, and the
introduced to my values and beliefs at idea is to prep clients for their journey
various ‘touch points’ along the way, such with you so there are no unwanted
as my website, or a promotional booklet, surprises along the way and they feel part
long before any talk of ‘how much is it?’ of the brand, part of the group.
and often several months before serious Having this info prepped and ready to
money is due to change hands. go meant that I could send out the various
Julia’s big thing is ‘systems,’ namely leaflets as necessary from home, and
implementing and maintaining the right true this proved to be when crisis struck. didn’t have to spend too much time on the
processes from accounting to editing, so The fact is that the kind of out-of- phone explaining things.
that you consistently attract the right kind the-blue disaster that befell me could
of client. The kind who hires you for your affect anyone with a small business, so let Digital Marketing
vision and style, not because they want a me tell you some of the best things I’ve Social media is undeniably a beast. I
bargain. In other words, the dream client. implemented so far to help keep me and automate a month’s Instagram Grid posts
“You set up the systems, the systems my business on-track, and how I applied ahead of time, leaving time free to engage
run the business”, is Julia’s mantra. How these while I was convalescing. with people and have a bit of fun. ›

BUSINESS | TIME TO TURN PRO
While I was out of action the Grid posts

kept dropping, making it look very much
‘business as usual.’ I was replying to new
enquiries and scheduling client calls for
the new year in just a few clicks, while my
Grid posts kept my shop front ‘open’.
All the time I was out of action I didn’t
once have to worry about my social
media because I knew that a lot of what
I post on Insta automatically publishes
to Facebook. In fact, my account even hit
over 1,000 followers while I was at home
recuperating. Not bad for a day’s bed rest!
Finance and Accounts

Yawn, yawn. Yeah, I know. But, if you do
the work upfront, it saves a helluva lot of
headache later on. I use a spreadsheet
to log my incomings and outgoings and
I have a golden rule to do this as soon as
I receive them. It’s painstakingly boring,
but it saved me. I fell ill right at the time I
needed to file my tax return. So, all I had to
do was hit a button on my computer, print
out the relevant accounts (virtually, to a
Pdf file) and send this to my accountant.
In previous years I’ve been scrambling
through old emails trying to remember
my expenses, and receipts are thrown approach images so I don’t get distracted I used to have a haphazard system,
around my work desk and studio. Urgh! No and waste time. For specific brushes and leaving the back-up and finding of client
more! It’s time to get organised. effects, I always apply them in the same images down to chance. Not what you
order – so, for example, adding a little need when you’re feeling ill and only have
Photo Shoot Workflow light and saturation first, then nuking red a few hours a day to work...
I have an exact order of images that I aim skin and softening baby’s skin just a little.
to achieve on each of my photo shoots During my illness, where I could only Well Oiled Sales Machine
and I stick to it. Over the years, I’ve worked manage a few hours’ work a day, I could Having systems in my business kept it
out the best sequence in which to get start and finish one client’s edit in the going when I couldn’t do so myself. From
these shots, which is especially important same afternoon, knowing I could have accounting and marketing through
if you’re trying to keep a newborn settled it sent out to them in good time for to social media and keeping client
and asleep. Using a workflow in this way, Christmas. It was a relief having such a workflows, I have a ‘manual’ on practically
I’ve cut my photo shoot time down from reliable system set up to work with, where everything I do. It means I’ve turned
4-5 hours for a newborn session to just I knew I was sending out the very best my passion into a slick, well-oiled sales
under two, and with better, and more images, without compromising. machine and one that I can be proud of.
consistent images to show for it. Amazingly, my clients (new and old)
Although I’m still trying to ‘take it File Storage and have been so understanding and many
easy’ – I won’t be fully better until May – Processing have waited for me to be fully better
my doctors advise I can still do my photo OK, another boring one, but my system before booking me. Without systems in
shoots if I spend the rest of the day in for filing client images based on date and place I question whether I’d have had the
bed. Because I’m confident the sessions type of photo shoot meant that when I confidence to offer any sessions, because I
won’t run over and I know the clients successfully postponed some of my client didn’t know if I was coming or going.
are prepped well on what to expect, I’ll viewings or image editing until the new Now I’m happily booked up six weeks
be done and dusted with the very best year, I could quickly and easily find what ahead and it’s like my illness never
images, within two hours. Result. I needed within my system, and could be happened. The systems literally saved my
Likewise, I no longer dread editing confident that I hadn’t lost the images. business from spiralling into the
my images. I have an exact process in Following my checklist for presenting abyss, and I’m so glad I had them.
which I’ll edit, starting with correcting images to the client, I quickly make sure
white balance and working my way down I’ve made the slideshow, prepped the ❚ louisapeacock.com
the Lightroom tools, from adjusting music and have loaded images up into my ❚ @louisapeacockphoto
highlights to sharpness, batch editing sales software: I use ProSelect, which I've Louisa Peacock is an award-winning baby and family
all the way. I’m strict about the way I found to be incredible to work with. photographer based in north London.

TIME TO
TRADE
UP!
As a professional you can’t
afford to have kit break
down on you while you’re on
a job. It means that adding
a reliable B Camera makes
total sense, and trading up
could be the answer.
F YOU’RE A WORKING professional the whole process of buying and selling THIS MONTH’S TRADE UP:
I photographer then your reputation

is all important, and clients will be
putting their trust in you to get the
job done whatever happens. All of which
second hand kit the company is well set
up to help photographers not only sell
the things they don’t need in a quick, fair
and totally safe way but to then use the
Adding a B Camera
to Your System
means that you need to cut down on your income that’s generated to seamlessly Having back up gear with you on a shoot is a
risks as much as possible, and one area invest in the products that are needed. must for any professional, whatever genre
where it’s straightforward to do this is by Not only is it all effortlessly convenient they happen to be working in. What you
having back up with you. but it also happens to be the most go for depends on your requirements and
While your reserve kit doesn’t environmentally friendly way to upgrade, your budget, but you need at least one spare
necessarily need to be quite as high and more and more photographers are camera, and potentially a couple, for added
powered as your front-line equipment looking to use the trading up method as security, since these are the tools of your
there will still be a cost implication their chosen way to stay up to speed. trade and you can’t work without them.
involved if you’re looking to shell out for
extra camera bodies, and potentially It's crucial to have back up of
lenses. This cost implication can be hard your front line gear if you don't
to budget for at times, especially since want to get caught out by an
back up items, by definition, will be there unexpected breakdown.
primarily to serve as your insurance rather
than your front line first choice.
At a time when pretty much all
professional photographers have one
eye on the bottom line the alternative to
shredding your savings might be to look
at buying second hand, and this could give
you the top-quality reserve kit you need at
a price that won't bring tears to your eyes.
Even better, if you’ve got any bits and
pieces of kit tucked away in cupboards
that’s not being used then you have the
option to trade up through a site such as
used gear specialist MPB. As one of the
trail blazers who helped to vastly simplify

IN ASSOCIATION WITH MPB | GEAR
What are Back Up

Some photographers will look to have
two to three examples of the same model Cameras Perfect For? TRADING UP
tucked away so that they can pick up any of ❚ They give you added security on a job so MAKE SURE THAT you’re perfectly
them and will know instinctively how to use that if your front-line gear should break happy with your front-line camera
them. At the very least it probably makes down you can carry on working. and be sure that you’re not going to
sense to stay within the same system for ❚ They can be used by an assistant to be looking at changing the model
your back up, if only for the reasons that shoot behind-the-scenes images for or the system any time soon, since
the Menu systems are quite likely to be the blogs and web use. that will likely affect your back up kit
same, lenses could be interchangeable and ❚ If making a video you can use a B decisions. This could also be a good
the actual look of the files you’re producing Camera to provide a second viewpoint time to consider whether it’s actually
in terms of colour and contrast are likely to add interest at the editing stage. a back camera you’re looking for or
to be similar, making the post-production ❚ A back-up high quality compact camera maybe a replacement front-line
process much more straightforward. can be ideal as a notebook when model. Many photographers opt
Of course, a back-up camera doesn’t heading out on recces. for a camera that will be their main
necessarily need to be a like-for-like ❚ A back up zoom can cover you should workhorse, with the previous top
replacement for your regular choice. There one of your prime lenses get dropped camera then moving down the line to
are some excellent and highly specified and be put out of action. become the back up.
compact cameras out there for example Once you’re sure about the way
that could, at a pinch, get you out of a hole if Disadvantages of you want to go then it’s a case of
you suffer a breakdown. They are also great Back Up Gear considering whether you want to
‘notebook-style’ models to have to tuck in ❚ It’s more kit to carry around that might have a like-for-like back up, which
your pocket if you’re looking to carry out a potentially never get used, so it's not an could still be sourced via the second-
recce, or you want to put a remote camera in option if you're travelling light. hand market, or whether you want
a position where it could be vulnerable and ❚ Kit will lose value as it gets older, so to look for something that’s maybe
you don’t want to risk the front-line gear the more you acquire the greater the a previous model, say a Mark III
getting stolen or damaged. depreciation you'll suffer over time. version as opposed to a Mark IV,
If you’re a filmmaker then a B Camera ❚ If you’re looking to change systems in which will still potentially have the
is a great option to have that could allow the future then you’ll have to change all look and feel of your top dog camera
you to set up a secondary position for an your back up kit as well. but is substantially cheaper.
interview, for example, so that you have two If you have a clear idea of what
viewpoints of your subject that you can cut you’re after then when you’re trading
between to make the final production look MPB Back-Up Camera Prices in your used gear MPB will give you
more interesting. You can also hand a B Cam ❚ Canon EOS 5D Mark III, Good the option to tick off your wish list as
to an assistant on a stills shoot so that they Condition, £629 part of the same transaction.
can shoot a few behind-the-scenes images ❚ Olympus OM-D E-M1 Mark III,
for your blog or maybe even gather a few Excellent Condition, £1249 Potential Trade-Ins:
telling candids suitable for the album as ❚ Sony RX100 VII, Excellent (All excellent condition)
they mingle with guests at a wedding. Condition, £814 ❚ Canon EOS 60D ............................................. £175
❚ Fujifilm X100V, Like New, £1199 ❚ Nikon D5500 ................................................... £240
Cover Your Lenses ❚ Sigma 50-100mm DC, HSM Art, ❚ Sony Alpha A6000 .................................. £215
While lenses are less likely to fail than Nikon Fit, Excellent Condition, £609 ❚ Canon EOS M100 ........................................ £125
camera bodies it’s still perfectly possible to ❚ Fujifilm X-Pro 2 ........................................... £575
drop one on a shoot and render it unusable. TOTAL: £1330
While it’s probably not cost effective to have
a like-for-like back up for every one of the "Why I Love The MPB website is fully geared up
primes in your gadget bag, there’s still the to offering trade ins so the ability to
option to have a couple of back-up zooms
Back Up Gear…" swap in your unwanted gear can very
that will save your bacon at a pinch, even if “As a professional, I am judged much be part of the transaction and
they might not be at the same quality level by clients on the images from my last you’ll be able to see as you go along
as your A-Team optics, nor quite as fast.
shoot for them. Any camera, no matter what you’re realising in terms of
how good, can suffer a failure and that
Whichever way you look at things, having cash and how much more you might
is why I always have at least one back up
back-ups for your key kit makes complete need to add to acquire the kit you’re
body with me on every shoot I do, as my
sense and the most cost-effective way to reputation means everything.” looking for. You’ll receive an honest
make sure you’re covered is to head down quotation and could even come away
Mike Inkley, Sony UK sports
the second-hand route. Consider your photographer and MD MJP Media with a surplus that will be paid direct
options and then see what a specialist used ❚ mikeinkley.com into your bank account.
kit provider such as MPB might have to offer ❚ mjpmedia.com
and make your choices from there. ❚ mpb.com

When it was
launched late last
year the Canon EOS
R3 represented one
of the most exciting
new models for
pros in some time.
Adam Duckworth
sees whether it
lives up to the hype.
TESTED
The Canon EOS R3

WORDS AND PICTURES ADAM DUCKWORTH
F YOU’VE BEEN waiting for a full-
I
Canon’s EOS R3 is a mirrorless model
frame Canon mirrorless camera
that offers traditional handling and a
that has the ruggedness, pro-style rugged weather-sealed body.
handling and, most importantly,
speed to tackle the harshest of professional
jobs, then the good news is that it’s finally
arrived. The EOS R3 is the first Canon to use
all of the latest mirrorless technology inside
a large, pro-body style camera that handles
exactly like a traditional pro DSLR.
It isn’t just ‘as good’ as a pro DSLR, such
as the EOS-1D X Mark III, but it takes that
level of performance a step further, offering
the ability to rattle through full-quality
14-bit RAW stills at up to 30fps with more
advanced AF. Furthermore, thanks to its
stacked sensor, there is no viewfinder
blackout or lag at all, which is quite an
impressive performance.
In fact, now Sony has finally licenced its
award-winning stacked sensor technology
to Canon and Nikon, it means these two old to shoot at 30fps then you’d have so much for example – or for weddings, theatre,
rivals can finally build cameras capable of flickering inside the viewfinder that it would events, press conference or shooting stills
being fast enough for genuine professional be unusable without giving you a migraine. alongside a film company on a set. You can
sports, wildlife, news and event use. The The EOS R3 offers clean, unobscured throw away your sound blimp forever.
stacked sensor reads out much faster than viewing at all times, whether you’re While shooting at 30fps, the camera
a conventional sensor, which means there shooting in total silence at 30fps – performs 60 AF and AE calculations per
can be faster AF, faster frame rates in stills something no DSLR can do - or recording second, while the viewfinder refreshes
and video and, crucially, zero lag or blackout video. That makes it ideal for sports where at up to 120Hz for a stunning view. The
when shooting. If you could ramp up a DSLR silence is golden – like golf or tennis viewfinder and EVF are bright, clear and

The Canon EOS R3 is a fast
weather-sealed camera that’s
ideal for tackling sports, and you
can shoot RAW 14-bit stills at up
to 30fps if you feel the need.
highly detailed, giving a view that’s just like With a larger throat and more contacts admitted it is no longer developing DSLR
an optical viewfinder but with the benefit between the lens and body than the and EF lens technology, so you know the
of real-time exposure simulation if that’s 30-year-old EF mount, the RF upgrade writing is well and truly on the wall.
what you’re looking for. And, of course, delivers the opportunity for faster glass, The 30fps rate is only available when
it’s sure to be, because nobody willingly faster AF and more advanced image using the electronic shutter, while the
chooses to wait until after they’ve taken stabilisation. It also allows AF to work maximum is 12fps in mechanical shutter
a photo to see if the exposure is correct. down to lower light levels with improved mode – something the rival Nikon Z 9
That’s back to the old world of DSLRs…. subject recognition. That’s why Canon has doesn’t have. If you’ve tried working with
To review your work, you don’t need to an electronic shutter while panning then
form some makeshift sunshade over the you might be concerned that vertical lines
LCD to get an idea of what you’ve shot. can get skewed due to the way the sensor
Just put your eye up to the viewfinder reads the information. But the readout
and see it in full, gloriously sharp is so fast on the EOS R3 – thanks to that
colour. You can review your images stacked sensor – that there is virtually
without taking your eye from the no rolling shutter whatsoever in stills or
viewfinder if you want and, once video. But the mechanical shutter is still
you’ve got used to this way of onboard if you feel you need it.
working, you can be sure there will Sync speed with the e-shutter is
be no going back. 1/180sec, and this is one area where
DSLRs have the advantage since many
Moving to Mirrorless have the ability to sync at 1/250sec.
If you’ve not been a convert to However, even here it’s not impossible
mirrorless previously then the EOS for a mirrorless to go faster – Sony’s A1
R3 could be just for you, since it has will sync at 1/400sec for example.
the traditional handling and deep, Compared to the high-megapixel
weather-sealed body and ruggedness Sony A1 or Nikon Z 9, the biggest
of the 1-series Canon pro DSLR cameras. potential issue with the Canon EOS R3
And you can use your old EF-mount glass is that it packs just 24.1-megapixels –
Canon’s EOS R-Series cameras feature a larger throat,
via an adapter until you can afford to allowing for more contacts and the opportunity for less than half of both its rival mirrorless
upgrade to the superior RF lenses. faster glass and better AF and image stabilisation. flagships, which are both fast and offer ›

TESTED | CANON EOS R3
SPECIFICATIONS
Canon EOS R3
PRICE: £5879 body only
SENSOR: 24.1-megapixel CMOS full frame

stacked BSI
STILLS: 14-bit RAW to 30fps electronic

shutter, 12fps mechanical
VIDEO: 6K to 59.94p RAW 12-bit, DCI 4K, 4K

and HD to 119.85fps in 4:2:2 10-bit.
ISO: 100-102,400, expandable 50-204,800
IMAGE STABILISER: 5-axis in-body
SHUTTER SPEEDS: 30 secs to 1/8000sec

mechanical shutter, 30 secs to 1/64,000sec
electronic
We also tried out the EOS R3 ’s AF on an
LCD: 3.2in articulating touch screen, 24150k excitable dog and focus remained pin
dots, 100% coverage sharp as we followed the action.
VIEWFINDER: 5760K dot OLED EVF
There are now focus modes for tracking people,

AUTO FOCUS: 1053 on-sensor phase
detection points, eye control “animals or motorsports, especially for open-
STORAGE: 1x CFexpress type B, 1xSD/
SDHC/ SDXC UHS II wheel racing cars or motorcycles rather than usual
DIMENSIONS (WXHXD): 150x142.6x87.2mm street cars. We tested it on racing motorcycles and
WEIGHT: 822g an excitable dog, and it worked well. ”
the user highly detailed files. which means you can select the initial area the camera will focus on, and track, moving
If you shoot Canon and demand the for autofocus tracking by simply looking subjects at that location in the frame.
highest-resolution, then the 45MP EOS R5 directly at the viewfinder location where In use, it worked surprisingly well. But
is what you need. This shoots 8K video as you might happen to want to begin AF. experienced professionals could find it hard
well, and you can even grab 35MP stills from With Eye Control and Servo AF activated, to put full trust in the system. It takes just a
8K video footage. But it has overheating few missed focus points – and we had a few
problems when shooting the highest res – before you decide to turn off Eye Control
video and eats through memory cards and use one of the other myriad of
and hard drive space. For many focus modes where you select
sports and event shooters, 24MP and move the AF point using
is a bit of a sweet spot, which is the touchscreen or joystick. Old
where the EOS R3 fits right in. habits may die hard, but when
And what gloriously detailed, they have worked so well for so
low-noise images they are. long then it’s difficult to change.
There is lots of dynamic range, AF features like Face Detect
noise is very low and the colours and Tracking are great though,
are typical of Canon – which as the camera will continue to
means they are stunning. follow moving subjects around
The RAW files need very little the entire active AF area. You can
tweaking to get right, while the use an f/1.2 lens wide open and
JPEGs are very usable as well. focus will still be nailed pretty
And shooting action at 30fps much every time. And that’s
means you have a lot of choice of something that’s not true for
frames to look at! even the best of DSLRs.
Of course, they would all When set to Eye Detect, if the
be useless if they were out of camera detects eyes in the frame
focus. The EOS R3 uses the latest it locks in on them. If there are no eyes
version of Canon’s Dual Pixel AF system. The back of the EOS R3 will look familiar to any regular in the shot – for example when the subject
The camera also comes with Eye Control, Canon users and it’s well laid out and intuitive. turns away – it locks onto the head instead.

CANON EOS R3 | TESTED
There’s now a dedicated focus

mode for motorsports, and in use
this setting performed really well.
If there is more than one person in view mode and you can set two different banks
you then have the ability to select the main of settings. Video is also helped by the
subject you want using the touchscreen. in-body image stabilisation, which helps
The AF system tracks moving subjects to deliver a judder-free image. For use on
well and holds focus and is customisable a tripod, it’s
in terms of focus speed and transition best to turn
‘stickiness’. You can also use the the IBIS off as
touchscreen to do smooth focus pulls in occasionally
video mode, simply by tapping on the the image will
subject you want to focus on. jump a little.
There are now focus modes for tracking What may
people, animals or motorsports, especially surprise many
if you’re photographing open-wheel racing pro photographers moving to video is that
cars or motorcycles rather than usual street video RAW is a very new and rare concept.
cars. We tested it on racing motorcycles and Just like in stills where unprocessed RAW
an excitable dog, and it worked well. files capture the maximum sensor data that
And for manual focusing in either stills needs to be processed afterwards on the
or video, the Focus Guide works really computer, the same is largely true for video
well. This uses the AF system to give you a RAW. But, of course, shooting 6K RAW files
visual indication of which way to turn the in video at 60fps creates a massive amount
focusing ring. You can even customise the of data and heat. Very few cameras record
focus ring of RF lenses to give a more linear, RAW video internally, and the rival Sony
direct response that’s closer to the feel of a A1 and Nikon Z 9 certainly don’t. But the
manual focus cine lens for video. Canon EOS R3 does, in either full-size RAW
or a compressed Canon RAW Light version.
Shooting Video The sizes of the full RAW files are simply
On the subject of video, the EOS R3 is also A simple button on the rear of the EOS R3 changes the vast, while RAW Light is more manageable
a stunner. A simple button on the rear camera from a stills model to one that’s set up to shoot and gives quality that’s virtually
changes the camera from stills to video video, and there’s a wide range of settings available. undetectable from the full-fat files. It ›

CANON EOS R3 | TESTED
If you’re already a
“Canon user this is a
camera that you’ll feel
right at home with, yet
it takes performance
onto a whole new level
in terms of speed and
smaller size. ”
also comes with the ability to record RAW
video at up to 60fps in 6K. The camera also
shoots in a more conventional 4:2:2 10-bit
MP4 codec, which maxes out at DCI 4K but
allows the frame rate to go as high as 120fps
VIDEO for super slow-motion.
Moving imagery is a big part of what this Also perfect for video or stills is the
camera was built to do. The film above viewing screen, which is fully articulating,
shows the quality of the video footage the
and the new multi-interface hotshoe. It’s
EOS R3 is capable of outputting.
still possible to use conventional flashguns
or accessories, but there is now a line of
BELOW AND LEFT: Video production is part of contact points at the front of the shoe. This
this hybrid camera’s USP, and you have a full allows you to add on an XLR mic accessory
choice of recording options and settings. adapter, such as the one newly launched
by Tascam, and it’s able to communicate
with the camera without the need for
more cables. The new shoe also improves
reliability, as it effectively seals the gap
where water could otherwise creep in.
Looking at the EOS R3 it’s definitely
part of the next-generation of Canon
technology. You only have to peruse the
new-look body design, and AF ‘smart
controller’ built into the AF-ON button that
lives alongside the conventional three-dial
control system that Canon users will be
familiar with. If you’re already a Canon user
this is a camera that you’ll immediately
feel right at home with, yet it takes
performance to a whole new level in terms
of speed and smaller size. Now there’s
no excuse to avoid an upgrade.
More information:
❚ canon.com
VERDICT
THE TIME IS HERE when even the most with 45MP stills and 8K video, so if this is and this is where Canon’s investment is.
die-hard Canon EOS-1D X Mark III user what you need then perhaps you need to The EOS R3 is, quite simply, a great all-
should take a long look at finally making stay put or to take a look at the EOS R5. round camera that’s ideal for everything
the jump to full-frame mirrorless with If you’re considering moving across apart from being able to capture very high
the EOS R3. It’s a lot lighter and smaller from a rival manufacturer then the EOS R3 resolution stills and video. For that, you
than its professional sibling, thanks represents a very good reason to go down need the EOS R5. But for everyone and
to no hump for a mirror box, and it’s the Canon route. The RF mount will become everything else, the EOS R3 has all the
significantly cheaper as well. The pro the new standard for Canon for a very long making of being the first truly milestone
DSLR does have more resolution though, time, so it could make sense to jump now, camera in the Canon mirrorless range.

TESTED
Tamron vs Sigma
28-75mm f/2.8 24-70mm f/2.8 Art
Matty Graham checks out Tamron and Sigma alternatives to the
majestic £1800 Sony FE 24-70mm that cost half that amount yet
are still capable of doing a great job for the professional.
WORDS AND PICTURES MATTY GRAHAM
HE 24-70MM LENS is one of
T
The Tamron is noticeably smaller
the most important optics a
and lighter than its Sigma and Sony
professional photographer will equivalents, which could be a plus.
ever own. Essentially this is the
ultimate workhorse that all other lenses
might conceivably be added around, giving
a versatile focal length range that can
cover everything from street photography
through to weddings, portraiture,
architecture, news photography, travel
imagery and landscapes.
Sony photographers have at their
disposal the majestic Sony FE 24-70mm
f/2.8 GM, with the last letter denoting
its place in the famous G Master series of
premium optics, but there’s a catch… the
lens retails for close to £2000!
That’s a massive investment for even
professional photographers, so what’s the
solution? Well, as it turns out there are
two options to consider, with third-party each other and which one could be the right achieves the rare feat of delivering a fast
manufacturers Sigma and Tamron both choice for you if the Sony might be just out maximum aperture while still retaining
offering far more affordable 24-70mm, of reach? To find out, we took both lenses a lightweight build and a fairly compact
fast aperture f/2.8 lenses - well, the out in the field for a real-world pro review. footprint. Tamron has recently delivered a
Tamron is actually 28-75mm, but given its new version of the lens, and this features a
value-for-money price-tag, that’s slightly Design and Build Quality revised optical system that enables it to be
splitting hairs perhaps. Let’s start with the Tamron. The 28-75mm smaller than its predecessor.
So, how do these two affordable options f/2.8 Di III VXD G2, to use its full name, is When it comes to the structure of
perform, how do they compare against one of the brand’s newest optics and it the lens, the Tamron includes LD (Low

Tamron Sigma
Dispersion) and GM (Glass Moulded partially account for this extra weight. imagery, however, both lenses have the
Aspherical) lens elements to minimise The Sigma features a physical AF/MF ability to produce pleasing bokeh.
aberrations and it’s powered with Tamron’s focus switch - something that I personally The minimum focus distance of the
VXD linear motor technology. So how much prefer – along with a Lock switch on Tamron is 18cm at the wide end of the focal
lightweight is the Tamron? Well, it tips the zoom mechanism that secures it when range and 38cm at the tele end of the lens
the scales at just 540g, a whopping 290g it’s packed away to transport to your next and the Sigma matches this specification
lighter than the Sigma 24-70mm f/2.8 DG gig. Tamron’s lens works in the same way, exactly. This means that both lenses
DN Art we’re comparing it with. with the front element protruding are eminently suitable when it comes to
That said, however, the Sigma further out as you zoom in, shooting frame-filling images of smaller
is still a shade lighter but there’s certainly a subjects, whether that be a nature pro
than the Sony G Master noticeable difference closing in on a small insect or a portrait
lens, which is 886g. when it comes to the size professional looking for a tight headshot.
The Sigma option of the front element.
is from the brand’s While the Tamron Real-World Operation
acclaimed Art series optic offers a filter thread Long story short, both of these lenses are
and utilises a construction of 67mm, the Sigma is incredibly easy to use out in the field and
consisting of 19 elements in considerably larger at 82mm. handle superbly. I carried the pair in my kit
15 groups. The lens employs There’s also an interesting bag while testing them so that I could take a
extra-low dispersion glass difference between the two shot with the Sigma and then swap straight
and six sheets of ‘F’ low lenses where the aperture away to the Tamron to directly compare and
dispersion (FLD) glass and design is concerned as, while contrast results in a variety of situations.
two sheets of special low the Tamron uses 9 diaphragm In all honesty there really isn’t much
dispersion (SLD) glass to blades, the Sigma employs an to choose performance-wise between
ensure premium image 11-blade design. From our test the two lenses but there are a handful of
quality. Despite being 35% differences that I picked up on. This may
heavier than the Tamron, While Sigma’s lens is larger than be a personal take, but I switch between
it still doesn’t feel overly the Tamron it’s still acceptably manual focus and autofocus frequently
compact to take out on a shoot and
bulky, and there are mitigating when shooting landscapes. I prefer a
it’s a truly versatile performer.
factors to consider that physical AF/MF switch on the side of the ›

TESTED | MID-RANGE ZOOMS
Tamron Sigma
The big advantage of both these workhorse lenses is that the fast f/2.8
“maximum aperture is available throughout the entire zoom range. ”
Tamron Sigma
Tamron Sigma
I took these side-by-

side images to directly
compare the Tamron and
Sigma performances.
Download the
originals to check
them out for yourself.
Tamron Sigma

MID-RANGE ZOOMS | TESTED
lens barrel, and the fact this was provided

with the Sigma saved me having to navigate
through menu systems in the way I had to
with the Tamron. While this gave the Sigma
the edge in this department, I have to say
that I did appreciate the lighter payload of
the Tamron. I can see Sony shooters who
are on the go for a full day’s shoot really
making the most of this benefit, especially
as professionals will likely have additional
optics with them and any weight-saving
would represent a big advantage.
In terms of zoom range, will the slight
difference in focal lengths between the
two optics sway a buying decision? In my
opinion, I think not. Sure, you can go a tiny
bit wider with the Sigma, but I don’t feel this
is a deal breaker. The big advantage of both
these workhorse lenses is that the fast f/2.8
maximum aperture is available throughout
the entire zoom range, so portrait and
wedding photographers will appreciate
being able to create shallow depths of field
when zooming in. What’s more, it’s worth
pointing out that many pro photographers
may opt to pair these lenses with a crop
sensor Sony, such as the a6660. In this SPECIFICATIONS SPECIFICATIONS
case the Sigma’s focal length switches up
to 36-105mm while the Tamron offers Tamron 28-75mm Sigma 24-70mm
42-112mm, further extending the versatile F/2.8 Di III VXD G2 F2.8 DG DN Art
nature of both of these handy optics.
PRICE: £849 PRICE: £1049
I tested the lenses in a range of different
lighting conditions, including low, CONSTRUCTION: 15 elements in 17 groups CONSTRUCTION: 19 elements in 15 groups
directional light during golden hour, and
NUMBER OF DIAPHRAGM BLADES: 9 NUMBER OF DIAPHRAGM BLADES: 11
the coating of each optic did a great job
when it came to suppressing ghosting and MINIMUM APERTURE: f/22 MINIMUM APERTURE: f/22
flare. What’s more, both the Sigma and MAXIMUM APERTURE: f/2.8 MAXIMUM APERTURE: f/2.8
Tamron lenses come with a hood that isn’t
fixed, meaning it can be removed if MINIMUM FOCUSING DISTANCE: 18-38cm MINIMUM FOCUSING DISTANCE: 18-38cm
you prefer to work without. FILTER THREAD: 67mm FILTER THREAD: 82mm
DIMENSIONS: 75.8 x 117.6mm DIMENSIONS: 87.8mm × 124.9mm

More information:
❚ tamron.eu/uk WEIGHT: 540g WEIGHT: 830g
❚ sigma-imaging-uk.com
VERDICT
MY AIM WITH THIS review was to answer the Tamron 28-75mm f/2.8 and Sigma buy additional optics, memory cards or a
one important question; do professional 24-70mm f/2.8 Art. While there are some tripod or bag maybe: you take your choice.
photographers shooting with Sony pros and cons attached to each lens, such This review also highlights the sea
cameras really need to find the not as more features on the Sigma versus more change that’s taken place in terms of how
inconsiderable outlay for that pricey G portability with the lighter Tamron, both working pros now have the genuine option
Master 24-70mm lens or are there more produce impressive image quality that will to move away from native brand lenses
affordable options out there that can be lauded by working pros. when looking to add to their kit bag to
still offer the build and image quality The Tamron currently retails at £849 embrace third-party manufacturers such
that a professional working every day is while the Sigma costs a straight £200 as Tamron and Sigma, who have massively
going to ultimately need? more at £1,049. Depending on where you stepped up the quality of their products
The answer is that Sony shooters buy, this means that the Tamron is a grand in recent years. With lenses this good now
have not one, but two brilliant, value- more affordable than the Sony G Master being offered, these two brands certainly
for-money alternatives in the form of optic, which would free working pros up to deserve their place at the top table.

“ THINGS I WISH I'D KNOWN ”
Rachel Mullett
Like so many others Rachel Mullett suffered agonies of
self-doubt but, after investing in training, she’s found the
confidence to build up her photography workshops.
W
HEN I STARTED MY
small photography
souvenir business
back in 2012 I didn’t
anticipate the joy it would bring
me. I knew I loved photography
and was passionate about my home
county of Pembrokeshire, and my
initial intention was to sell my work
exclusively online. However, I soon
discovered there was also a market
worth exploring in local gift shops,
and I ended up running a wholesale
business alongside my website sales.
Looking back at my first pieces of
work I have to admit I cringe a little
but, hey ho, life is a journey and since
that time I’ve invested lots of time and
money in training and I’ve learned
not to beat myself up over my earlier
photographs. If I could go back to this
stage in my career I would tell myself
to slow down, invest time to really
understand my customer base, learn
how to market my product properly With good feedback from my clients
and fill skill gaps as soon as possible. Rachel Mullett I already have excellent bookings for
Rachel specialises in Skomer Island and
Confidence has always been a this year, and now my biggest problem
Beginner Landscape Photography Workshops
major issue for me, and being afraid of in Pembrokeshire. She invested in coaching is finding time to edit my photographs.
failure and what other people might to give her the confidence to take the leap into Before my coaching I thought I had to
think of me is restricting. As I’ve got teaching photography alongside her existing be the best photographer on the planet
older, however, I’ve learned not to take successful souvenir business. to be able to offer these courses but
things so seriously and to realise what now I’ve discovered that I just need to
things are most important. moment for me, in life as well as be a good communicator, organised,
Over the years my souvenir business business. It’s completely transformed friendly and reliable and someone who
got so busy that I found I had less time the way my company is run. knows their subject well.
out with my camera, which I missed Moira tells me that I can’t see Looking back I can see that I should
dreadfully, so I knew I needed to in myself what others can, namely have invested in bespoke business
change things. I spend a lot of time on that I’m an intelligent woman and training sooner and, instead of
Skomer Island every year and I knew a talented photographer. I blush at coming up with so many reasons why I
this was my favourite place to be with her words, and have to admit it took couldn’t run workshops, I should have
my camera, so I started to look at ways a good few weeks for her to convince been asking myself why not? I also
to bring this more into my working life. me I could make the transformation shouldn’t have worried so much about
Lockdown came suddenly and I to running workshops. She showed me my competition. My clients seem to be
decided to invest in myself – if only I'd the only obstacle in the way was me! able to find me, so that’s fine. I’m so
done this years ago! I found a business This led to 2021 being the best glad I made the leap, and I now love
coach called Moira Doherty of the year to date for my business. Tourists passing on my passion for photography
WOWs Collective, an organisation set flocked to Pembrokeshire and bought and the beautiful Pembrokeshire
up to help older women in business souvenirs and I ran photography coastline to my lovely clients.
to thrive. I invested in a one-to-one workshops on Skomer Island and
training package and it was a lightbulb around the coast of Pembrokeshire. ❚ pembrokeshiremoments.co.uk

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12 Portfolio: Albert Watson

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PREPARING TO PRESENT THE

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WORLD CUP, JUNE 29, 1986

A Robinson was closely associated with the

Images on The Saturday Man website are

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WELCOME BACK THE OM-1!

THE MAGNIFICENT SEVENTH! introductory film about the

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FREE CONVENTION TRADE SHOW TICKETS!

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RIGHT: Amy, Double

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“I choose everything. I make

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A Commercial Eye “For the most part all photographers work in a

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LEFT: Kirk Youngblut,

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of. It’s like sitting in the backseat of a limousine and

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I was fascinated by the way that painters could turn a

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“I took just one book along with me on this shoot for

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EMMA FINCH MARGARET SORAYA BEATA MOORE

Y back in time to encounter an

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GERTRUDE DE VRIES AMY BATEMAN SARAH GARROD

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“ I’ve found a small

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