Professional Photo Issue 114 sampler

A MUST-READ FOR EVERY FULL-TIME AND ASPIRING PRO PHOTOGRAPHER

WEDDINGS:

RISING STAR SHARES TIPS FOR SUCCESS ISSUE 114

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WIN

A CANON EOS 7D MKII KIT WORTH ÂŁ1575!

SPORTING GREAT Bob Martin talks about a 30-year career defined by fractions of a second

DIGITAL WORKSHOP The Photoshop tweaks clients will love you for

SELL YOURSELF

Unmissable advice to get the best return on your marketing spend

TAKE COVER! Students take over the studio to shoot our cover. Full story inside HEAD-TO-HEAD TEST: 35mm PRIME LENSES

Canon, Nikon, Samyang, Sigma & Tamron wide-angles rated - at least one of them is a cracker! See more on p89

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Welcome

welcome

networking events’; the practical stuff that you can tick off once complete. But it can also be a good time to check the more holistic aspect of what you do.

Are you actually enjoying your life as a pro? What other things could you do to make your job better for you, not just your clients? How is the work/ like balance working out? I’d say it’s as important to consider these aspects as it is to make sure the practical bases are covered. Working out what makes you tick and making sure all is rosy in the garden will almost certainly have a positive effect on your business.

Thanks for your support throughout 2015 and I hope that continues in 2016.

Until then, enjoy the issue and have a great Christmas.

Editorial director Roger Payne rogerpayne@bright-publishing.com @RogPayne © EDMONDSON WEDDINGS

BELOW: An image from multi award-winning photographers David and Luke Edmondson. They’ll be at the SWPP Show, 22-24 January and we will be too.

Hope to see you there!

Variety is the spice of life, apparently, and if that’s the case I’ve had a particularly piquant month. It started with two young students battling to shoot our front cover and ended having a pie and a pint with Bob Martin, who has enjoyed 30 years at the top of the sports photography game. You can read both stories in this issue.

Bob has been there, done that and has a wardrobe full of T-shirts to prove it, while our two students - Weronika and Kalem - are just starting out on what they hope to be careers of Bob-like proportions. But all three of them were united by a love of photography. Bob still admitted to getting a buzz when he gets a great shot, while our two students would have carried on shooting through the night if we’d let them. Naturally, you need more than a modicum of talent to get far in any industry, but the value of being passionate about what you do shouldn’t be underestimated.

As we head to the end of the year, it inevitably becomes a time when we take stock of the past 12 months and make some plans for the future. This may well conclude with a To-do list for the year ahead. That list is likely to include entries such as ‘Update website’, ‘Tweet at least once a day’ or ‘Attend

@PHOTOPROUK

ISSUE 114 PROFESSIONAL PHOTO 003

GEORGIA JONES FROM MOT MODELS BY KALEM DUFUS-MCKENZIE

Contents

EDITORIAL Editorial director Roger Payne 01223 492244 rogerpayne@bright-publishing.com Contributing editor Terry Hope Sub editors Lisa Clatworthy & Catherine Brodie Contributors Megan Croft, Paul Gallagher, Christian Hough, Steve Davey, Richard Hopkins ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Key accounts Mike Elliott 01223 499458 mikeelliott@bright-publishing.com Sales executive Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Sales executive Ollie Smith 01223 499457 olliesmith@bright-publishing.com DESIGN Design director Andy Jennings Senior designer Mark George Ad production Lucy Woolcomb

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WEB Digital development manager Ashley Norton Interactive designer Will Woodgate PUBLISHING Managing directors Andy Brogden & Matt Pluck Head of circulation Chris Haslum SUBSCRIPTION AND BACK ISSUES Subscribe online: www.brightsubs.com/photopro Email: subs@photopromagazine.com Subscription hotline: 01778 392497 NEWS-STAND DISTRIBUTION COMAG, Tavistock Road, West Drayton, Middlesex UB7 7QE 01895 433600 PRINTED IN THE UK BY Warners Midlands plc using only paper from FSC/PEFC suppliers www.warners.co.uk

Professional Photo is published on the first Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Professional Photo is a registered trademark of Bright Publishing Ltd. The advertisements published in Professional Photo that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.

When you have finished with this magazine, please recycle it 004 PROFESSIONAL PHOTO ISSUE 114

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Contents

069 006

006

UPFRONT

015

COVER WIN AN EOS 7D MKII

022

COVER SPORTING GREAT

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COVER SELL YOURSELF

038

COVER DIGITAL WORKSHOP

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COVER RISING STAR

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PRO LIGHTING SECRETS

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Red Bull gives you prizes, tattoo lovers get naked and Nikon confirms D5 development Send us a wintry image and you could scoop a £1575 DSLR outfit Bob Martin’s 30-year career in stunning 1/1000sec chunks

Top tips from Steve Davey on marketing to the public Extract every last ounce of detail from an image with Photoshop Wedding photographer Nick Murray charts his rapid rise Three interior photographers light up the room with their advice

COVER TAKE COVER!

Two students get two hours and a Hasselblad to shoot our cover

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CUBA DIVING

085

GO FOR IT!

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COVER 35mm PRIMES TESTED

104

BUYERS’ GUIDE

114

THE STORY BEHIND

David Cotter jumps into Cuban portraiture with a fisheye lens Jack in your job and go pro. We meet one man who has done it Two months after testing the sharpest lens ever, we’ve only gone and found one sharper!

Be ready for 2016 with this round-up of kit and services How Rene Burri’s uber-cool Sao Paulo image came to pass

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UPFRONT

covered, uncovered ALAN POWDRILL

MEGAN CROFT

Questioning our preconceptions, Alan Powdrill’s latest project, Covered, explores the hidden world of tattoos

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Once the mark of a season at sea or time spent behind bars, the tattoo has made its way into the mainstream and amongst some crowds you’re the odd one out if your skin is bare. In the most part, the inked amongst us might not appear any different to the next person when fully clothed. But roll up a sleeve or unbutton a shirt and beneath is a whole other identity chosen and designed especially to be worn for life and to remain a secret only a few are to know about.

Alan Powdrill comes from a small village in the Midlands and had an upbringing that was “conservative with both a big and a small ‘C’”. Tattoos were rarely glimpsed and represented a form of rebellion in this photographer’s straight-laced childhood. His fascination began early on but the idea

of a tattoo-focused photography project only came many years later. Flicking through his collection of coffee-table books, he came across controversial photographer Helmut Newton’s infamous image of four models clothed and then unclothed in the same position. It was a light bulb moment.

“I wanted to document this explosion in popularity of getting inked,” he begins. “A lot of tattoo pictures are really clichéd glamour studio pictures featuring, more often than not, page 3 type models. I find them really boring.”

The idea of juxtaposing a person’s outward appearance with their naked, second skin was the way for Alan to challenge people’s preconceptions through his photography. The idea went down well at tattoo conventions too, WWW.ABSOLUTEPHOTO.COM

@PHOTOPROUK

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UPFRONT

roll out the red carpet ROGER PAYNE

What’s your pro gear of the year for 2015? Cast your vote today and you could win a case of wine

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It has been a brilliant year for new gear and now’s the time for you to select the kit you think is the best. Our sister title, Photography News, is inviting votes in categories covering the full gamut of equipment, from cameras and lenses to memory cards and colour management devices, enabling you to pick the gear you think is worthy of a prize.

Highlights of 2015? In terms of digital SLRs, the launch of Canon’s EOS 5DS and 5DS R models has certainly proved to be a game changer, catapulting megapixel counts into the realm of medium-format models, while CSCs are all the better for the launch of Leica’s SL – even if it does belie the term ‘compact’ system camera!

As you’ll read in the test of wide-angle prime lenses elsewhere in this issue, both the Canon EF 35mm II and Tamron SP 35mm deliver stunning results and

thoroughly deserve their places in the Prime Lens category, while the inkjet printing market has been buoyed by a raft of new models from Epson, which includes the excellent SC-P800.

Naturally, you may have your own favourites, which is why you should have your say. Here, we’ve highlighted ten professional-related categories in the Photography News Awards to give you a taster of the nominations, but there are a total of 46 gongs up for grabs.

Voting is simple, just visit absolutephoto.com and follow the link to the online survey. The closing date for entries is 24 February 2016 with the winners being announced at The Photography Show in March. Everyone who enters is also included in a prize draw where one person will scoop a 12-bottle case of wine for their trouble.

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Photography News Awards

PROFESSIONAL DSLR Canon EOS 5DS/5DS R Canon EOS-1D X Nikon D4s

PROFESSIONAL CSC Fujifilm X-T1 Leica SL Panasonic Lumix GH4 Olympus OM-D E-M1 Samsung NX1 Sony A7R II

MEDIUM-FORMAT Hasselblad H5D-50c Leica S007 Pentax 645Z Phase One XF with IQ3

PRIME: STANDARD Canon EF 35mm f/1.4L II USM Leica APO-Summicron-M 50mm f/2 ASPH Sigma 50mm f/1.4 DG HSM A Tamron SP 35mm f/1.8 Di VC USD Tamron SP 45mm f/1.8 Di VC USD Zeiss Otus 55mm f/1.4 @PHOTOPROUK

TRIPOD: CARBON FIBRE 3 Legged Thing Evolution 3 Brian Benro FTA28CC Giotto’s YTL 8353 Induro GIT203 Vanguard VEO 265CB

SHOULDER/SLING BAG Billingham Packington Lowepro Slingshot Edge 150 AW Manfrotto Agile II Sling Tamrac Stratus 8 Tenba Shootout Sling Bag LE Medium Vanguard Up-Rise II 43

INKJET MEDIA: FINE ART Canon Infinity Rag Photographique 310gsm Epson Hot Press Bright 330gsm Hahnemühle William Turner 310gsm Fotospeed Smooth Cotton 300gsm Signature Innova Soft Textured Natural White 315gsm PermaJet Museum 310

PROCESSING LAB This is an open category – just vote for your favourite.

PORTABLE FLASH Elinchrom ELB 400 Interfit S1 Monolight Lencarta Safari 2 Phottix Indra 360 TTL Profoto B2

INKJET PRINTER Canon imagePROGRAF PRO-1000 Canon PIXMA Pro-100S Canon PIXMA MG5700 Epson SureColor SC-P400 Epson SureColor SC-P600 Epson SureColor SC-P800 absolutephoto.com/pnawards2015 Published monthly, Photography News is free to pick up from selected photographic retailers, or you can read it online or subscribe to get every issue delivered direct. absolute photo.com ISSUE 114 PROFESSIONAL PHOTO 017

Pro folio

I

’m having a conversation with Bob Martin that I can safely say I’ve never had with any professional photographer before. “People used to tell me, it’s not about the camera, it’s about the eye. It’s not,” he tells me. “Sports photography is about the kit and you’ve got to have the best gear to enable you to be the best. Purist photographers will think that’s a terrible thing to say, but it’s true. I’ve got to have 024 PROFESSIONAL PHOTO ISSUE 114

the latest toys, the latest cameras, I embrace technology and I think that’s helped me in my career.”

It’s a refreshingly honest summation of his craft, but Bob isn’t finished yet.

“Take auto-exposure, for example, many professionals will say they don’t need it, but sometimes it’s great. You just need to know how to use it, when to override it by two-thirds and when to switch it off. It’s great when the sun’s coming in and out or when you’re shooting

indoors and competitors are moving through spotlights,” he says, continuing to tear up pages of the professional photography rule book. And there’s more. “Autofocus saved my bacon. I can manual focus OK, but I was at the point where I didn’t think I could compete with other photographers because I was in my mid-20s and my eyesight was going. Then the technology came along to help. When I first started, getting a shot of Linford Christie running a WWW.ABSOLUTEPHOTO.COM

Pro folio

PREVIOUS SPREAD: Turin Winter Olympics, 2006

“PEOPLE USED TO TELL ME, IT’S NOT ABOUT THE CAMERA, IT’S ABOUT THE EYE. IT’S NOT”

@PHOTOPROUK

LEFT: Serena Williams, French Open

100m sprint with both feet off the ground was considered a job well done, but nowadays that’s a piece of piss.”

In case you hadn’t already realised, 55-year old Bob doesn’t mince his words. Despite these outspoken assertions, he’s not an angry man at all - he’s just comfortable with who he is as a photographer. A photographer who has spent the last 30 years capturing outstanding images of incredible sporting endeavour.

ABOVE: IAAF World Athletics Final, Monaco

BELOW: Michelle, British Open, 2005

“As you get older, you become more willing to accept what you are and what you do,” he continues. “I would never have admitted 20 years ago that I wasn’t a good manual focuser, now I’m quite happy to. It’s reality.”

Like so many of the world’s leading professionals, Bob could so easily have been doing something else with his life. At school he knew he wanted to be a photographer, but was more into the technical side than the actual capture ISSUE 114 PROFESSIONAL PHOTO 025

Rising Star: Nick Murray

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Brought to you by

Don’t leave great shots to chance.

Choose Samsung memory cards to ensure you never miss a moment.

rising star NICK MURRAY

MEGAN CROFT

Nick Murray is living the dream, wedding photography is what he loves, his diary is bulging with bookings and his shelves are starting to bow with the weight of his awards ISSUE 114 PROFESSIONAL PHOTO 049

Lighting secrets

1/60sec, f/10, ISO 100

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Lighting secrets

PHOTOGRAPHER PETER DIXON

FULL HEIGHT FLAG ANGLED AND MOVED TO GET THE REQUIRED LIGHT SPILL

PROFESSIONAL PHOTO: That is an eyecatching image Peter, what was it for?

PETER DIXON: The shot was for a

wallpaper and fabric company called Barneby Gates that I have worked with for many years. Vanessa Barneby, the co-owner, used to commission me for shoots as the editor of British Vogue Living and in her previous position for House & Garden magazine.

Barneby Gates regularly needs shots for its website and promotional material, such as print postcards, and marketing material to be sent with wallpaper and fabric samples to clients. Images are also supplied to various interior magazines, plus some of the weekend supplements, where they’re generally used freely by the magazines as editorial content with a credit to the supplier. You could look at it as an important, yet free, method of advertising that normally would be very expensive for a company to purchase.

Do you shoot this in your own studio?

The shots are taken at the company’s design studio, which is a fairly compact space. The set is created and a couple of 8x4ft background flats are papered with the new wallpaper designs prior to my arrival. This sort of shoot is done twice a year, when two new designs are released, each with two different colourways.

PP

PD

SOFA ELINCHROM 1500S

@PHOTOPROUK

TALL THIN SOFTBOX

EQUIPMENT: CANON EOS 5D MKII, EF 24-70MM F/2.8L USM LENS, ELINCHROM 1500S FLASH, SOFTBOX 140X2000

WHITE REFLECTOR (IN THIS CASE DIFFERENT PIECES OF CARD ABOVE AND BELOW SOFA) CAMERA

“HERE, I NEEDED TO CONTROL THE LIGHT CAREFULLY, AND FLAG AND BOUNCE THE RIGHT AMOUNT OF LIGHT BACK INTO SHOT” aim is to light it so that it looks like a naturally lit daylight environment.

How did you go about this?

I use a variety of different lights from HMI, fluorescent bulbs to flash. For this I chose studio flash because I believe it’s the only lighting which is neutral where I could accurately control the power output. Continuous lighting is great, but I find that the colour temperature is a little on the green side, which isn’t the most accurate, plus the power output can’t be adjusted in the same way.

The lighting for this is fairly straightforward and, sometimes, that is all it takes! I used an Elinchrom 1500S flash head with a softbox. I then positioned this off to the side of the set. A sidelight is great for picking up the texture of the wallpaper/fabric, but too harsh when used directly. In a bigger set, bouncing light away from the set onto a surface works very well, especially when a wide honeycomb grid is fitted. However, here, I needed to control the light carefully, and flag and bounce the right amount of light back into shot to balance the lighting.

The lighting evolves after the first capture which would be taken in available light. I do a rough set-up of flash, flag and reflectors then move, add and remove lighting tools until I’m happy.

I always come with plenty of reflectors, PP

What challenges did you face?

PD The wallpapers and fabrics have to be reproduced totally accurately and therefore, the colour must be absolutely spot on. It is important to appreciate that clients will be ordering wallpaper from the website and promotional material, so the shots must create the correct mood and have the same editorial feel you would see in a high-end interiors magazine. Often, a wallpaper or fabric would have a design which incorporated different textures; gloss and matte, for example, metallic finishes which change colour depending on how light falls on it or high-contrast colours with subtle background shades. These must all be captured in the final shot which will have a good range of natural highlights and shadows. This is all before you’ve started with the technical challenges of the studio space and environment.

Working in a limited space with little available daylight is also challenging, especially when you need to light them.

Often the lighting and feel of a shot is defined by the props chosen to go with each. If we’re using a particularly large piece of furniture there might be only one place where it can sit, which will then define how we can light the set. My PP

WALLPAPERED BACKGROUND FLAT

PD

white sheets and pieces of card along with lighting stands, clips and clamps, folding, cutting and taping card to shape.

It takes experience to learn when to stop.

I don’t take light or colour readings when shooting anymore, completely different to the days of film where I had to filter according to the light readings I got.

PP What post-processing do you do?

PD I nearly always shoot tethered via Capture One. Seeing a larger image as I shoot enables me to build the shot in the same way I used to with Polaroid when I shot on transparency film, checking focus, exposure and composition as I go. I try to do as little retouching as possible but do as much post in Capture One before processing the Raw files to Photoshop where there are always dust and scratches to tidy up and I might need to tweak some colour in the props to match better with the wallpaper.

I use a colour meter to colour match swatches of wallpaper, so when I’m colour matching in Capture One, I need to know the ‘daylight’ I’m viewing on the swatch is neutral (5500K with no red/green shift). It’s rarely spot on.

However, I can still compare to what I’ve seen on screen. The screen must, of course, be calibrated with a good calibrator, too. peterdixonphoto.com ISSUE 114 PROFESSIONAL PHOTO 063

STUDENT CONTESTANT 1 KALEM DUFFUSMCKENZIE

© MARK GEORGE

Now in the second year of his HND photography course, 19-year-old Kalem already has GCSE, A level and HNC photography qualifications under his belt. He hopes to go on to study at degree level.

While shooting portraits is his first love - and a genre that he hopes to continue in when he’s working

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commercially – he also enjoys product photography. He’s been shooting in a studio for a few years now, but had never been let loose with all the lighting equipment in the same way as on our cover shoot.

“Before I arrived, I gathered as much information as I could, primarily researching trending fashion,” Kalem told us.

“Fur, leather, metallics, platforms, knee-high boots, vintage style and finger jewellery were all very popular. I also researched the trending colour palettes and found that either pink or red were the key colours for this year.”

Kalem started by photographing model Georgia in front of a dark background, accessorising the shot with props from the studio as well as some of those that he’d brought along himself. “Naturally, I wanted the model’s face to be well lit,” he explains, “but I also needed a light directed on the backdrop, so the model and her clothing would not be lost within the deep grey background.

“For both models, I tried to portray a vintage look. I opted to shoot most

© MARK GEORGE

Shoot the cover

MAIN IMAGES TOP: Kalem kept lighting and backgrounds simple, choosing instead to add interest with accessories – some of his own, some borrowed.

OTHER IMAGES: Pre-preparation was welcomed and Kalem duly obliged with a book of tearsheets that kept the ideas flowing as he photographed both models.

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© MARK GEORGE

© MARK GEORGE

Shoot the cover

@PHOTOPROUK

images from the waist up as I felt that this was the best option given the shape of the cover image required,” Kalem continues.

“Props were also important. I brought some steampunk glasses, then used a hat and even an old chair for some of my images.”

Of our two photographers, Kalem was certainly the most prolific. Once he was happy with his lighting setup, he shot plenty of images, filling a 16GB card in the morning session and another in the afternoon session.

He ended up shooting more than 600 frames during the course of the day.

“Working with the Hasselblad and broncolor kit was a real privilege,” he admits. “The detail, sharpness and accuracy are all hugely impressive and the H5D was easy to use once I’d had a couple of runthroughs with all the controls.

“Looking back, I believe I coped successfully with the entire shoot.

It was certainly worthwhile bringing some of my own props – even if I did let my opponent use them as well!”

THE KIT HASSELBLAD H5D-50 Both our winners shot with the Hasselblad H5D-50, which offers a 50-megapixel CCD sensor measuring 36.7x49.1mm, and HCD 35-90mm zoom lens. Conventional thinking may suggest that a zoom lens would result in reduced image quality, but this couldn’t be further from the truth – as soon as we opened the Raw files on a laptop, the sharpness and detail were there for all to see. If it’s the ultimate image quality you’re after, this camera takes some beating. There are also 40- and 60-megapixel, and several 50-megapixel variants available. hasselblad.co.uk

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Project: David Cotter

E

very professional needs to shoot something personal from time to time to remain sane, but if you’ve got a busy agenda it’s difficult to squeeze it all in.

For London-based photographer David Cotter, whose usual day-to-day work is mainly for corporate clients and TV companies, the solution was to combine a five-week holiday in Cuba with an environmental portraiture project.

“It was the first time I’d ever visited,” says David, “but Cuba has been on my hit list for years. Although the trip was primarily a holiday I knew the island would be rich with amazing photo opportunities so that was a big attraction too. I had the idea in my 078 PROFESSIONAL PHOTO ISSUE 114

head that I would like to create a set of images to exhibit when I got home and I was also keen to take environmental portraits as that’s mostly the kind of work I do in my professional life. But I wanted to separate it by adding a twist, and I came up with the idea of pairing my Nikon D610 with an 8mm Samyang fisheye lens and producing a set of portraits solely with this.”

Though not the type of lens you would normally associate with portraiture, there was a very valid reason for David’s unusual choice. It was all tied in with his desire to have a feeling of continuity running through the work and a means of showing the world around his subject as he captured their portrait.

“I’ve always loved wide-angle lenses because you get so much more in the picture,” he says. “However, they’re not perfect for everything and when you’re shooting portraits it’s easy to end up with distortion around the edges of the frame. If you move in too close to a face you’re going to end up with a fat nose and buggy eyes and no one’s going to thank you for that! The trick is to stand back a little and to keep your subject more or less in the centre of the frame. Do this and the distortion won’t affect them too much, while at the same time you’ll bring so much more of their environment into the picture, allowing the viewer to learn a whole lot more about the world around them.”

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Project: David Cotter

There was also an element of devilment in David’s approach, a sense that he might well get the most interesting results when he deliberately set out to do the exact opposite of what he was supposed to do, and he was justified in his thinking in that the results are highly stylised and suit the subject matter perfectly.

Tool for the job The lens he elected to use was the Samyang 8mm f/3.5, which comes in at just over £200, and he found it to be a decent performer despite its budget cost. “The lens itself is manual focus and it can be difficult to know for sure at times whether everything is sharp,” @PHOTOPROUK

“I’VE ALWAYS LOVED WIDE-ANGLE LENSES BECAUSE YOU GET SO MUCH MORE IN THE PICTURE”

PREVIOUS PAGE: “This guy was sweeping up the beach and offered me and a friend pre-prepared mojitos. Many Cubans have a sideline where they can make a few extra dollars from tourists.”

LEFT TOP: “Jose was in charge of logging fisherman as they went out to sea fishing.”

LEFT BOTTOM: “She saw me chewing gum and asked him if she could have one. I gave her a whole pack and it just made her day.”

ABOVE: “I stayed at Casa Lucy for five days. Every time Lucy saw me, she would give me a big hug and fuss over me.”

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