Formatt in Focus Issue 2 Summer 2019

Patrick Di Fruscia Signature artist and amabssador 0n giving back to nature

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Mark Mc Neill Brand Ambassador

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David Lutwyche

Patrick Di Fruscia

Brian Lloyd Duckett

PAGE 01 \ DAVID TAKS ABOUT MAKING THE MOST OF GRADS EVEN IN UNEXPECTED CONDITIONS

PAGE 05\ PATRICK TALKS ABOUT HOW PHOTOGRAPHERS CAN GIVE BACK TO NATURE

PAGE 13 \ BRIAN LLOYD DUCKETT ON STREET PHOTOGRAPHY AND HIS TOP TIPS FOR SHOOTING IN VENICE

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Steven Owen

Julia Anna Gospodarou

Tom Wood

PAGE 21 \ STEVEN OWEN’S BTS VIDEO OF THE NEW JACK PERRET SINGLE

PAGE 25 \ SHOOTING LONG EXPOSURE PHOTOGRAPHY. OVERCOMING CHALLENGES IN AN URBAN ENVIRONMENT

PAGE 35 \ TOM WOOD ON SHOOTING IN THE INCREDIBLE WELSH LANDSCAPE

Conten

nts

FORMATT HITECH

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Ken Kaminesky

Leanne Cole

Colby Brown

PAGE 39 \ KEN TALKS ABOUT TRAVEL PHOTOGRAPHY AND THE CHANGING FACE OF PROFESSIONAL PHOTOGRAPHY

PAGE 49 \ LEANNE TALKS ABOUT HER RECENT TRIP TO NEW ZEALAND

PAGE 55 \ COLBY TALKS ABOUT HIS TOURS INCLUDING NORWAY ICELAND AND PATAGONIA

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10 Vieri Bottazzini PAGE 65 \ VIERI FIELD TESTS THE NEW FIRECREST 85MM FILTER SYSTEM

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DAVID LUTWYCHE

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David Lutwyche

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GND is excellent in the day but did you know they can also be used to enhance night shots and cityscapes?

I was recently in Las Vegas for the NAB show and had taken a load of grads with me. The problem with a trade show is you are working from early in the morning till often late. This meant I was unable 1

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to shoot anything with ND in the day.

Fortunately, our friends at Diawa tripods were able to lend me a tripod and head so that I would get some night shots. Las Vegas seemed to be a great place to grab a couple of frames and show how filters can be used in any workflow.

Las Vegas is famous for its night lights which can make taking a balanced photograph very difficult!

But luckily I had a 0.9 Ultra GND. I used this filter to balance the image the way I wanted using it to control areas of the scene that were too bright and “blowing out� from the signboards.

I also found that it was a great way to bring the focus of the image to where I wanted it. Naturally, the sky was exposed as an ugly blue brown, but the filter allowed me to control the bloom coming from the lights. It also gave me the ability to balance the brighter lights from some displays against the street.

FORMATT HITECH

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DAVID LUTWYCHE

Examples without Grad filter

You can see how the light is. Although you will probably never get a perfect exposure in these conditions; some areas will always be very bright and others dark due to the high contrast nature of the image. I was not happy with the overall look of the picture.

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With Grad Filter

I used a 3 stop GND in this image coming in on an angle, the darkest area is in the sky with the graduation just coming over the edge of the building to control the bloom effect from the lights. It also darkened the light enough that I could brighten the road slightly to get better detail in the tarmac.

The Grad also helped to darken down the foliage in the top right which I feel was acting as a distraction in this composition.

FORMATT HITECH

|4 Using a GND was helpful in removing flare and unwanted detailsls in the top right

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The Million Tree Projec t 02 Patrick Di Fruscia SIGNATURE ARTIST, BRAND AMBASSADOR FORMATT HITECH

Bell’s Beach

PATRICK DI FRUSCIA

I consider myself very fortunate to have found

I know that I have several passions. Exploring

what makes me feel alive. My passion for nature

Nature, Travelling and Photography of course but

photography has permitted me to travel to some

I also love to help others as much as I can. The

of the most amazing places on earth, to have

latter one is constantly having more and more

amazing life experiences, to express my creativity

meaning in my life. Being able to take pictures

and meet some wonderful people along the way.

of amazing locations is one thing, but giving

As much as all of these made me feel incredible,

back and making a difference in our world and in

I always had that deep feeling that I am not doing

people’s lives is priceless. I had to find a way to

enough, not giving back enough. I remember one

combine all my passions together, combine them

day I heard something that really struck a chord

in a way that it would really make a difference.

inside of me.

It is for that reason that I have decided to create the Give Back to Nature project. Its first goal will be to help plant One Million Trees in developing

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“ Always Leave a Place Better Than You Found It” These words led me to start thinking about my whole life, if I was to leave tomorrow, would I have made this world a better place, better for others to enjoy?”

countries ravaged by deforestation and help rebuild their natural landscapes. This project will also directly help the villages and communities, which are suffering from extreme poverty by employing villagers to plant these trees. When farmers cannot grow anything, their farms fail and they have no option but to move to the overcrowded cities to look for work. Oftentimes they must resort to selling themselves or their families into slavery just to survive! Let’s make

And, no matter how I looked at it, I kept telling myself; I know I could do a lot better! Yes, I am creating, sharing the beauty of our planet, inspiring others to care for nature but for what purpose

sure this does not happen. We all have the power to give back, empower people, restore hope, reduce poverty and allow them to support their families.

exactly? Is all this strictly ego driven? Kind of hard

This new project has already led me to visit

to explain but lately, more than ever, I have this

Indonesia, one of the most impoverished countries

little voice inside my head (maybe I am going a

where some of the trees will be planted. My role

little crazy) that keeps telling me “Make sure you

was to document with pictures and videos, new

start acting now!” The last thing I want to do is to

potential plantation sites, meet the communities

leave my true purpose behind. So for the past few

that will be working on the fields. This also led me

months, I have reflected greatly on who I am, who

to witness first hand the vast deforestation of the

I want to be and how can I get there? It is only by

Sumatran rainforest where the land and forests

experiencing who I did not want to be that I was

have been cleared. for the development of palm oil

able to see who I truly wanted to become.

plantations.

FORMATT HITECH

“A large male orangutan (which are sadly also now on the critically endangered list, with populations in sharp decline”

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PATRICK DI FRUSCIA

Learn more and see how easy it is to support the project http://www.GiveBacktoNature.com

Palm Oil is the most-used vegetable oil in the world, and is found in our foods, cosmetics, cleaning products and fuels. Unfortunately, a large proportion of palm oil expansion occurs at the expense of biodiversity and ecosystems. Out of all the mammals in Indonesia, one third of the species are 9

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now considered critically endangered because of this enormous problem.

A large male orangutan (which are sadly also now on the critically endangered list, with populations in sharp decline) was standing literally a few feet in front of me. What an incredibly beautiful creature and definitely an experience I will remember forever. I know this might be far fetched, but while standing close to him there was this moment when he looked at me in the eyes and I felt a cry for help. It was a beautiful experience but also one that deeply moved me. I

During one of my treks in the

am aware that I might have

rainforest, I was very fortunate

felt this because I am aware

to encounter one of the

of the current situation but

magnificent great apes in the

this experience reinforced my

wild.

conviction that setting up the Give Back to Nature project was the right decision.

I

Stay Strong & Live with Passion Patrick Di Fruscia

www.DiFrusciaPhotography.com

Come Join the Conversation on our Instagram page. Simply scan the nametag using instagram to subscribe today

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BRIAN LLOYD DUCKETT

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Brian Lloyd Duckett is a Formatt Hitech Ambassador and an Official Fujifilm X-Photographer.

Street Photography: Why Venice? shoot the blue skies, the green waters, the Okay, I admit it: the magical city of Venice is not

reflections, the sunsets and the bridges. They

normally associated with street photography. It’s a

shoot the pigeons in Piazza San Marco, the

place thousands of photographers visit every year

colourful houses on the island of Burano or the

to learn landscape or travel photography; they

view from the Rialto Bridge. But rarely the streets!

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I’ve been visiting Venice as a photographer for a

Take time to venture further afield away from

number of years – and for me it’s strictly street.

the main island. Chioggia, for example, which

Once you get away from San Marco, Rialto and

is actually on the mainland, is a working fishing

the tourist ‘yellow routes’, it’s a street photography

town which offers good opportunities for street

wonderland. Night or day, monochrome or colour,

photography – and it’s an interesting journey

winter or summer – Venice has it all. Whether it’s

in itself. Most of the smaller islands are easily

the amazing light, the architecture, the quirkiness

accessible by waterbus and the sea breeze is a

or the characters, Venice delivers.

great antidote to the stuffy city.

Where to shoot

When to visit

The city is made up of a number of districts –

I usually avoid the busiest months of June, July

sestiere – each of which has its own character

and August when it’s hot, humid and over-run

and style. For street photography, head for

with tourists. My favourite time to visit is during

Cannaregio, Castello, Dorsoduro and San Polo and

February which also happens to be the driest

dig deep. Get into the heart of those areas, into the

month of the year. It is often foggy at night and

alleyways and the dark corners. Don’t be afraid to

early in the morning which can provide a sinister

explore and be prepared to get lost (as even the

or evocative canvas for street photography. The

locals do). It’s a very safe city and, if you do get

annual Carnevale (carnival) takes place during

lost, it’s so compact you can’t go far wrong.

February, filling the city with people wearing masks and elaborate costumes.

My favourite locations are Cannaregio and Castello, covering the northern-most part of the

Also consider May, during which time the city

island, from west to east. Here you’ll find far fewer

hosts either the Art Biennale or the Architectural

tourists and will get a feel for what ‘real life’ in

Biennale (in alternating years); both are events

Venice is all about. If you like a stylised, minimalist

of international significance and bring a lot of

approach to street photography, try shooting

characters to the area.

around here in the middle of the day when the light is at its most contrasty and people are indoors, having lunch or taking their siesta.

The nearby large island of Giudecca is only a fiveminute trip by waterbus and is largely frequented by locals. You’ll find a smattering of ‘real’ shops (the grocer, the butcher, the baker, the gelateria, the laundrette, etc) and some uniquely Venetian bars and restaurants. The island is a long linear strip of land with views of the city on one side and wonderful, minimalistic views of the lagoon seascape on the other.

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“I usually avoid the busiest months of June, July and August when it’s hot, humid and over-run with tourists”

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BRIAN LLOYD DUCKETT

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FORMATT HITECH

Street photography in Venice: my top tips • Travel light: I take one camera and one or maybe

look for the intense shadows and the rich colours

two lenses (35mm and 85mm) and that’s all.

of the Venetian landscape. Good light is easy to

Maybe a tiny travel tripod but nothing else apart

find in Venice: seek it out and build your shots

from some filters. It’s worth taking a selection of

around it.

ND filters and a polariser. You’ll do a lot of walking and having just a small shoulder bag (or no bag)

• Avoid the tourist areas: they are overcrowded and

will make life easier.

it’s difficult to get a clean shot of anything. This generally means keeping clear of the main ‘yellow’

• Shoot the sunrise; a great spot is by Piazza San

streets which connect the main attractions, such

Marco, overlooking the lagoon. Find out the sunrise

as the road from the railway station to Rialto or

time and arrive at least 20 minutes early. Then,

from Rialto to San Marco.

after dawn has broken, head inland into the streets and squares, just as the city is waking up. There’s

• It’s a good place to start to overcome your fears

bags of atmosphere, moisture in the air, few

of street shooting: everyone in Venice has a

tourists about and wonderful light. After shooting

camera and people don’t think twice about being

for an hour or so, find a bar and enjoy your first

photographed. The locals can sometimes appear a

cappuccino and brioche (croissant or pastry) of the

little grumpy but have largely become de-sensitised

day. Live like a local!

to being photographed and will generally just let you get on with it.

• Shoot RAW: Venice is a terrific place to shoot in both monochrome and colour and you’ll want to

• Venice waterways open up a whole new world of

keep your options open.

unique photographic possibilities that you won’t find anywhere else on the planet. In bright light the

• Relish bad weather: out of the long summer

water is a vibrant emerald green, shimmering with

season you can expect rain, fog and even snow.

reflections and sparkling with light. Alternatively,

The fog can be particularly photogenic and can

you can use a polarising filter to eliminate the

contribute to intensely atmospheric images

reflections and concentrate on the amazing colour

(November and February are great for foggy

of the water.

cityscapes and seascapes). I’ve taken some of my best photographs of Venice in adverse weather

•A little under-exposure will work wonders. If the

conditions. See it as an opportunity!

sun is mostly behind me, my default setting is 1-2 stops of under-exposure. This will saturate

• Chase the light: Venice is all about the light,

the colours, keep the highlights in check and give

which is as good as it gets. Watch the light as

a rich intensity to shadow areas. Your exposure

it shimmers on the water and appears in shafts

compensation dial should become your best your

between tall buildings and at the end of dark alleys;

friend!

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• Try to think of a couple of projects before you go.

Your shooting time in Venice will be more focused and meaningful if you have a vision to work towards. If you’re short of ideas, try something like ‘Working Venice’, focusing on the local people who make the city tick – think gondoliers, street cleaners, bar staff, police officers, boatmen or shopkeepers. Or perhaps develop a more documentary-focused project about the chaos caused by the invasion of tourists.

Brian is a Formatt Hitech Ambassador and an Official Fujifilm X-Photographer. He is a Londonbased professional documentary, travel and street photographer whose first two books, ‘Mastering Street Photography’ and ’52 Assignments: Street Photography’, have become international best-sellers.

Brian runs documentary, travel and street photography workshops around the UK and in Venice, Lisbon and Prague (with more locations coming soon). Workshops are for small groups (maximum 6 participants) or for individuals.

FORMATT HITECH

“There are many compelling reasons to visit Venice as a street photographer. Whatever your style, whatever your project and whatever your motivation, you’ll find opportunities in every corner of the island, around the clock and at any time of the year.”

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Brian is a Formatt Hitech Ambassador and an Official Fujifilm X-Photographer. He is a London-based professional documentary, travel and street photographer whose first two books, ‘Mastering Street Photography’ and ’52 Assignments: Street Photography’, have become international best-sellers.

www.streetsnappers.com www.brianduckett.com Instagram: @streetsnappers

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STEVEN OWEN

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Behind the scenes Shooting The Video Jack Perrets new Single “Going Knowhere” SUMMER

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TOKINA VISTA

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JULIA ANNA GOSPODAROU

05 Julia Anna Gospodarou Shooting Long Exposure Photography in an Urban Environment Overcoming the Challenges For a long time, long exposure photography was mainly related to landscape photography and the great outdoors, but during the past few years, things have started to change and more and more photographers are inspired to shoot long exposure in the city.

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Being an architect as well as a photographer, I am an avid lover of urban and architecture photography and for this reason, I am striving to contribute as much as I can to the popularization of architectural long exposure photography so others can fall in love with it too.

I have first came in contact with the use of long exposure photography in the city through the work of Alexey Titarenko and his series Shadows of a City from the early 1990s, that came to my attention in the beginning of the 2000s after watching a documentary about it. From then on my love for long exposure photography has never stopped and I have combined that with my love for architecture and for shooting in the city, practising it intensely all over the world and trying to popularize it through my workshops, my writings and through my own work.

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JULIA ANNA GOSPODAROU

For someone who isn’t familiar with the particularities of using this technique in urban photography I can say that, even if you can use the same tools and approach as for the practical side of shooting long exposure, as you would in landscape photography, shooting long exposure in an urban environment is quite different from shooting long exposure in nature for instance.

One of the particularities of urban long exposure photography is that you will need to be much quicker when shooting in the city than when shooting in nature because most of the times you will need to shoot while moving among passers-by and generally you will be working in a more or 27

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less crowded environment, which is almost never the case in landscape photography.

This means that the photographer shooting long exposure in the city doesn’t have as much freedom as a photographer shooting landscape. Of course, landscape photography has other challenges, but at least when you shoot landscape, you have the peace and quietness you need to focus on your photography without being pressured by time, traffic or people going about their business!

The challenges of urban long exposure photography are many, and one needs to be well prepared and knowledgeable to be able to get the best technical results in these conditions, while also focusing on your vision and on the artistic value of your work.

FORMATT HITECH

What I find the most challenging in shooting architectural long exposure photography in the city is being able to move quickly while finding the best angles and being able to shoot freely without encountering limitations related to the layout of the urban space, the amount of people passing by or the amount of available space you have to set up your tripod and camera so you can get the results you need.

One thing to point out is that an urban long exposure photographer needs to have patience and be able to relax and enjoy their work in an often stressful urban conditions. When shooting in the city you will feel the energy of the city, its fast pace and excitement, but if you are searching for calm and serenity at the same time, you will need to have a special approach to be able to relax and enjoy what you are doing.

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JULIA ANNA GOSPODAROU

What I would recommend when shooting long exposure in the city is to have a simple setup. Learn your filters well and also learn how to use all your equipment. You need to be able to move fast and not fiddle around with all the lenses, filters and holders you own, trying different approaches to find out what works. It is likely that, if you spend too long with that, the conditions you have in front of you will change and you may not be able to capture what you intended in the first place.

What I always do is to have in mind very clearly what I want to do before I even set up my tripod. I will make a mental note of what filters I’m going to use so I can mount them quickly on the lens and be able to finish the exposure in a few minutes and then move on. I usually carry a quiet large backpack with all my equipment on my back, but I also carry a small pouch in front of me that is easily accessible, where I have ready a couple of filter setups so I can use them quickly when stopping for a shot in the city. I would generally have available a 16-stop neutral density filter and a 13-stop or a 14-stop for shorter exposures.

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I also use a polarizer quite often, especially on sunny days, and sometimes I combine it with the neutral density filters to either increase the exposure or to control the haziness or the reflections in the scene.

This small set up will always be in my pouch ready and accessible, and this gives me the confidence that I can capture everything that moves me in a quick and accurate way.

If you are interested in studying long exposure photography in more depth, I have created a complete guide to long exposure photography that you can consult on my website

http://blog.juliaannagospodarou.com/long-exposure-photography-extensive-tutorial/ in addition, you can find extensive material about long exposure photography in my book From Basics to Fine Art and my video tutorial Creating (en)Visionography, both available on my website.

FORMATT HITECH

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We’ve filtered our joining rate Bluebells are only here for a few weeks per year and so is this offer to join the British Institute of Professional Photography! So get a month on us!

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We have a super offer to celebrate our new association with Formatt-Hitech and their superb range of professional filters: If you join us by July 31st 2019, you can receive a month free with your first year’s membership!* Just email: join@bipp.com quoting ‘BLUEBELL–BIPP’ and we will send you the form and details to get you started! *2019 membership is £225.00. Offer price is £206.25. We are also *offering a free amnesty on qualifications for past members rejoining!

The Artistry House, 16 Winckley Square Preston, Lancashire PR1 3JJ

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Nightscape is a Neodymium filter designed to give your images the true colours of the night sky.

Image courtesy of Mark Mc Neill

FORMATT HITECH

Nightscape is a 100mm night filter explicitly designed to remove the light spectrums associated with light pollution and sodium lamps.

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During Astro shots, the light pollution from the modern world can be hard to deal with, lowering the contrast as well as giving muddy orange and brown tones. Nightscape is a Neodymium filter designed to give your images the true colours of the night sky. It also benefits from the latest in double-sided coatings with both anti-reflection and waterproofing.

Nightscape is not just for Astro, the filter is also excellent at balancing lights in cityscapes and removing the ugly orange casts from street lamps giving you improved colours and contrast in your final images.

This filter can save you many hours of editing as well as improving the overall look of the final images with enhanced colours. By actually filtering specific spectrums of light it means you are capturing what you want without the pollution being present.

Compatible with all 100mm holders which take a 2mm thickness, it is the ideal partner to the Firecrest holder system. ÂŁ155 inc Vat

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TOM WOOD

Tom Wood I consider myself very fortunate to be living and conducting my landscape photography and

workshops in North Wales. The vast array of subjects to shoot never ceases to amaze me.

Being on the doorstep of Snowdonia National Park with it’s a variety of landscape from mountains and lakes to rivers, waterfalls and deserted slate quarries, there is always something to shoot. With all that Snowdonia has to offer, it’s an added bonus that it sits so close to some incredible coastline, with the rugged shores of Anglesey a short 35

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distance away.

I like to try and make my workshops relaxed and informal as possible, with a maximum of 4 people to ensure enough time is given to each participant.

The workshops are based around getting the best results in camera at the time of shooting with the correct use of filters.

My latest workshop in Snowdonia was what I call a mini-tour, taking in three diverse locations, each with its own unique aspects.

Tom Wood Formatt Hitech Ambassador www.woodyphotography.com www.instagram.com/tomwoodphotography75 @tomwoodphotography75

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FORMATT HITECH

I met the 3 dedicated participants in Llanberis with an early 6am start for sunrise at the lonely tree on the shores of Llyn Padarn, with fingers crossed for a clear start to

“I

consider myself very fortunate to be living and conducting my landscape photography and workshops in North Wales”

the day. After a few coffees and a chat about what we wanted to achieve and which filters best suited the morning’s shoot, including the importance of using a polarising filter; we waited for the morning light to appear from behind the surrounding mountains. We weren’t disappointed as the light cast it’s yellow glow over the lake. With a slight ripple on the water, we decided on the Firecrest Ultra 10 stop nd filter and the Firecrest Pro 3

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stop soft grad to give the exposure long enough just to smooth out any movement, giving the scene a sense of calmness. The integrated polarising filter on the 100mm Firecrest holder is essential to any shoot involving water or wet areas helping to cut out unwanted glare that can reflect back at the camera.

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TOM WOOD

As with any day out in Snowdonia, we have to be prepared for sudden changes in weather, and as the rain clouds started to close in, we headed for our next location, the Ogwen Valley.

Surrounded by impressive mountains on all sides, including Tryfan, Pen Yr Ole Wen, Y Garn and Cwm Idwal, this area is perfect for a bit of moodiness and drama. The mix of dark rain clouds and blue sky providing a perfect backdrop. We initially concentrated our efforts on the flow of water that descends from Cwm Idwal using the Firecrest polariser to reduce reflected light from the rocks and water and the Firecrest Pro 6 stop nd to get the right amount of movement. With the darkness creeping into the sky, we opted for the Firecrest Pro 2 stop soft grad to give a touch more moodiness to the scene, but not too much that it looked overdone.

We spent quite a while at this location, with each participant finding their own scene to shoot, with so much in a relatively small area the shooting opportunities are endless.

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FORMATT HITECH

Our last location of the day is one of my favourite places, Fairy Glen, near Betws Y Coed. A small gorge is cutting through the rock on the Conwy river. A quiet and peaceful place with an almost magical feel to it, with only the sound of the water rushing through to break the silence.

It’s not always the easiest place to shoot in low light, and choosing the right shutter speed depending on the amount and speed of the water passing through can sometimes be tricky. So it’s a great place for everyone to experiment using different nd filters and exposure times to see which give the best results. On different days here shutter speed can vary as much as 1 to 20 seconds. With the polariser in place, we tried out several nd filters from 2 stops to 6 stops until the right amount of movement was achieved, on this occasion we decided that around 4-5 seconds proved to work out best, with the 4 stop nd being the filter of choice. With some guidance, I like to give each participant the chance to work out which filter is best for each location themselves, which I find helps greatly for them moving forward with their photography skills.

Tom Wood

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Ken Kaminesky

Global Ambassador & Signature Artist

www.discoveryphototours.com

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K

EN KAMINESKY IS A STANDOUT NAME IN THE TRAVEL PHOTOGRAPHY WORLD. ASIDE FROM HIS WORK BEING

FEATURED IN THE NEW YORK TIMES AND THE COVER OF NATIONAL GEOGRAPHIC, HE’S ALSO A WRITER, PHOTOGRAPHIC CONSULTANT, ENTREPRENEUR, PROFESSIONAL SPEAKER

Ken Kaminesky PAGE 32 \ KEN IS A FORMATT HITECH GLOBAL AMBASSADOR AND SIGNATURE ARTIST

AND GLOBAL AMBASSADOR FOR BOTH FUJIFILM AND FORMATT HITECH.

ADDITIONALLY, KEN CO-FOUNDED AND LEADS DISCOVERY PHOTO TOURS, AIMING TO SHARE HIS LOVE FOR TRAVEL AND PHOTOGRAPHY WITH PHOTO ENTHUSIASTS OF ALL SKILL LEVELS FROM AROUND THE WORLD. IN THIS ARTICLE KEN SHARES SOME OF HIS TIPS AND BACKGROUND INFORMATION REGARDING HIS CHOSEN PROFESSION.

KEN KAMINESKY

For anyone reading this article, I consider myself unbelievably lucky to have one of the best jobs in the world. How many people wake up excited every day and look forward to what might happen, what they might see or the incredible satisfaction that I enjoy daily in doing what I do.

I love telling my stories and sharing my vision of what makes a great photograph. In fact, I am always inspired by what I see and my paacea is picturing in my head a painting that best portrays what I am shooting in some of the best locations around the world. That’s what motivates me to get out of bed every morning; stretching the boundaries to uncover new experiences, with the inspiration to push the imagery limits of what I am capable of producing.

I want to share with you today a little insight into my world of the what, where, why, when and how. I hope you enjoy reading it and can take your own inspiration on your next shoot.

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“The Qualities I Feel are Needed to be a World Class Travel Photographer” • Putting up with long travel days, sometimes in uncomfortable surroundings and climates.

• Having to be a weightlifter to carry all your gear!

• It can be quite lonely at times and stressful when in unfamiliar situations and cultures.

• I sometimes feel guilty because I am on location missing a birthday or an important personal event.

• You have to have a great attitude, be a good communicator and really understand people.

• Business acumen helps together with a sales hat on to secure sponsorship and support.

• Knowing exactly what to do when that special photography moment presents itself.

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“I really love my job and wouldn’t want to have any other profession; however, I could not do it without the support of my family, my sponsors, clients, and supporters”

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I have also learnt the hard way over the years that diversification is the key to running a successful and profitable photography business.

I will no longer be tied into one particular commercial client as it presents too much risk. It hurts when a new Company Director joins the organisation and decides to outsource photography to his or her previous contacts. That’s why I now insist that my B2B customers sign a contract – to protect both parties in a fair manner.

Apart from commissioned work, I organize and personally lead a number of Worldwide photographic tours every year, public speaking engagements at photography shows as well as having various different avenues selling my prints to generate further income. There are other income streams that I have also developed over the years but keep those close to my chest.

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Travel photography is not an easy profession and there are only a handful of photographers that manage to make a good living from it.

Running a viable and sustainable photography business requires good planning and control; where your photography and business skills allow you to purchase and regularly upgrade your equipment so that you can be the best you can be.

Furthermore, you also have to put away some ‘rainy day’ money when there are some gaps in your annual travel schedule – as well as paying the mortgage, all your bills and putting food on the table for you and your family. Being a professional photographer also requires investment and its not just the monetary aspects but also the significant amount of time I spend scouting for my next trip or travel photography tour.

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“The right clothing and footwear are imperative when travelling, because otherwise you will be feeling miserable when shooting and believe me that never produces the best work.�

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Solore, te dolore simpos ilis prae cusam eossus esequi inull SUMMER

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KEN KAMINESKY

Qualitative research is imperative before any trip because you will miss opportunities if this isn’t done properly. I tend to do a lot of desk research including searching on google images, travel photography sites, looking at numerous travel magazines relative to the country or region I am visiting and also asking my colleagues what their experiences are. No point re-inventing the wheel if someone can give you a heads up – it can save a tremendous amount of time and money.

What’s critical to me is to create something very different. This might be some cool architecture or unusual buildings; it could be amazing interiors or little known vantage points with the local advice on how to get there. Wherever I am I will always make a point in speaking to the locals (much of the time I admit through an interpreter) but nevertheless, I always want to ensure that I am well briefed on what shooting opportunities exist.

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When I eventually get to any location, I will spend time scouting it out and this could very well be at different times of the day. I ask myself, is this a sunrise, sunset or blue hour shot? Are there any barriers to me getting this photo or where might I gain height for a better vantage point? As I mentioned earlier, planning is a critical aspect of my job.

Once I think I have the shot; as a simple point of principle I will always take some further shots that are slightly different; interestingly the take two or take three shots are often the keepers! If I am in a city somewhere and have a specific brief, I will always try to walk everywhere. When I ditch the train, bus, car, cab or metro I am always surprised at what turns up. The numbers of unexpected photo gems I have been lucky enough to shoot this way must number into the hundreds. There are loads of photography treasures out there, but you need to seek them out.

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KEN KAMINESKY

Many people who know me will tell you that I like to travel light.

Here is a list of my ‘photo bag’ must haves: • Two cameras, a selection of lenses and a lightweight but sturdy tripod.

• Neutral density filters, polarisers and grads from Formatt Hitech.

• Portable hard drives to back up all my files, images and to bring my portable office on the road with me – where ever I go.

• Waterproof clothes, a separate wind jacket, a layered clothing system, comfortable shoes and wool socks.

• My standard travel bag includes an international adapter, power cords, computer cables, mobile power bar, wet wipes, soft towel, cleaning kit / cloths, black gaffer tape, garbage bags, ziplock bags, waterproof camera cover, q-tips, a small medical kit, water bottle, mosquito spray and any meds/tablets.

I really love my job and wouldn’t want to have any other profession; however, I could not do it without the support of my family, my sponsors, clients, and supporters. I count myself very fortunate to work with some 47

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awesome organisations including Fujifilm and Formatt Hitech. This allows me to celebrate and share my photos with worldwide audiences of the places I visit; some of which are off the beaten track and have not been visited by many photography artists like myself.

I feel honoured to be involved with other digital pioneers and photographers who share the same passions I do to create some of the world’s most captivating imagery. I’m now in a position where I’m able to help people travel to some awesome places to create the best photography of their lives and to live unique travel experiences that they will forever cherish. My main focus is making people happy and fostering friendships from all over the world. Hugs at tour’s end are the start of ongoing friendships. How cool is that for a legacy?

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My company Discovery Photo Tours https://www.discoveryphototours.com runs photography expeditions to places like Tanzania, Myanmar, Jordan, Norway, Japan, and even Antarctica. I get a chance to lead photographers of every skill level from all over the world on some life-changing journeys. What a great job!

Ken Kaminesky Formatt Hitech - Global Ambassador and Signature Artist

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LEANNE COLE

08 Leanne Cole

BRAND AMBASSADOR FORMATT HITECH

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Leanne Cole is a Melbourne based photographer.

She has been taking photos and experimenting with them for over 25 years. Along the way, she has received a Fine Arts Degree from the University of Melbourne, faculty VCA. She has written for various online publications and been published in numerous Australian magazines.

In Melbourne, she also runs workshops for people who want to learn photography, especially long exposure photography. Leanne is a long serving Ambassador for Formatt Hitech and a great supporter of the company. She is very active with her photography on social media and is never afraid to stand up for what she believes in.

LEANNE COLE

Travelling around the world hasn’t been something that I have aspired to do a great deal. There are places I would love to see, but then I have to travel.

For most of my photography career, I’ve been a firm believer that you should photograph where you live because you have all the advantages and none of the disadvantages.

Recently, I did travel. Living in Australia makes New Zealand a great and relatively cheap holiday to take. I spent 16 days travelling around the South Island. It was a magical experience!

How many of us have expectations of the amazing images we want to take when we travel?

I have to say I am included in that. Being a lover of long exposure photography, there was no way my 51

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Formatt Hitech kit of holders and filters was not coming with me. I have most of the ND filters from the 3 stop up to the 18. Recently I also expanded my kit with a couple of soft grads.

Opportunities weren’t everywhere to use the filters, but I made sure I got them out at Wanaka and Milford Sound. There were a couple of other places as well; but before I went, I knew I wanted to try some long exposures in those first two places.

That Wanaka tree is a hard one to get. The first morning, there were many photographers already there, and we didn’t get a lot of choice for the position. The second morning, we got there very early and staked our spot. There must have been over 200 people trying to get photos of the tree!

Once the sun had risen, I put on the 10 stop ND filter to see what I could get. Eventually, I also added the 0.9 soft grad as well.

“I took quite a few photos, but the one here in this article is perhaps one of my favourites.

It was a 2-minute exposure, taken with ISO 80, at f/8 on a Fujifilm X-T3 with the XF 18-135mm lens.”

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The day after we found ourselves in Glenorchy. I had seen some trees that are there on Instagram but couldn’t work out where they were from Google Maps. So, I was completely surprised when we drove up to the pier to see the trees right there. I rushed straight back to the car to get the filters and tripod.

This time I had the XF10-24mm lens on the Fujifilm X-T3 camera and the exposure was 2 minutes, I love 2-minute exposures, with ISO 80 and F/14. The image was cropped some in post processing.

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Then the third image was from Milford Sound. I always intended to do some long exposures at this place. I saw some from another photographer, and it was always on the list of places to see.

We were doing a boat cruise but arrived a little earlier, and I wandered around the bottom. There were a few places to set up the tripod and do some longer exposures.

The one here was also on the Fujifilm camera with the XF18-135mm lens. The 10 stop was used again with the 0.9 soft grad. This time it was a 60-second exposure with ISO 80 and f/13.

Most of the mountains were covered in cloud, but I feel that adds some mystique. It is a very moody part of the world, and I wanted to capture that.

The trip to New Zealand was a bit of an eye-opener, and while there, I was inspired to spend more time at home doing long exposures. Now that summer has finally gone it is the right time of the year to head out with my filters. I had been in a bit of a slump before my trip, and now I’ve come back rejuvenated and ready to do more!

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THE MEDIA PRODUCTION SH W 11-12 JUNE 2019 Olympia London

Stand 510

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Colby Brown

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Global Ambassador & Signature Artist

WWW.COLBYBROWNPHOTOGRAPHY.COM WWW.THEGIVINGLENS.COM

COLBY BROWN

One of the things most people don’t talk about is just how addicting it can be to dedicate some of your career as a photographer to photo education. There is something special about having the ability to share both your knowledge and your passion for an art form with other people.

As an educator, I love seeing my clients have those “aw ha” moments when things really begin to click. Whether someone is learning how to use a circular polariser for the first time or just beginning to experiment with focus stacking, it is amazing to be a part of someone else’s creative journey.

For the last 13 years, this has what has kept me coming back year after year to run workshops all over the globe. From my time leading 57

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trips for National Geographic in Ecuador, to running my own workshops with my two leading companies, Colby Brown Photography (www.colbybrownphotography.com) and The Giving Lens (www.thegivinglens.com).

With these in-field photography workshops, the world around us becomes the classroom, which is pretty amazing when you think about it and when you combine that with a more individualized teaching style that allows me to meet each of my clients at their own level, it truly makes from some pretty amazing adventures.

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Wild Patagonia Our adventures throughout Southern Chile and Argentina are quickly becoming some of our most popular that we offer. This specific region of the Southern Andes is home to some of the most amazing mountain ranges in the world. In Chile, we focus our time in Torres del Paine National Park, home to the famous Cuernos or horns of the Paine Massif that are truly incredible. Additionally, the other half of our adventure focuses on Los Glaciares National Park in El Chalten, Argentina. Here you will find the famous Cerro Torre and Mt. Fitz Roy, which loom high above the valleys below. And of course, no trip to Patagonia would be complete without a stop at the Perito Moreno Glacier, where you can witness six-story pieces of ice calve off the glacial wall and explode in a symphony of sound as it hits the waters below.

COLBY BROWN

Iceland Summer & Winter Adventures

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There is no place on earth that I have travelled to more than Iceland. Earlier this year marked my 30th trip to this incredible island nation. Since 2011, I have been running Summer and Winter photography adventures that are geared towards the more adventurous. In the Summer, we spend eight days exploring the Island as we chase the light from waterfall to waterfall as we follow the midnight sun, which often provides 4-6 hours of sunrise/sunset light each night. In the winter, our focus shifts to Ice Caves and Auroras in the South of Iceland, allowing our groups to experience and photograph some of the most amazing natural phenomenons in the world.

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Lofoten Islands of Norway Located above the Arctic Circle, the Lofoten Islands have quickly risen to the tops of most landscape photographers bucket list locations.

This probably has to do with the mixture of gorgeous fjords, dynamic seascapes, beautiful beaches and of course, the high probability of seeing the Northern Lights. When it comes to winter destinations, the Lofoten Islands of Norway are still one of my own personal favourite destinations.

You can find out more about each of these workshops as well as many more by visiting www.colbybrownphotography.com.

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CVP

C V P S hares In sigh t s F r om N AB 2019 NAB2019 saw a range of new and exciting kit on display all over the show floor. Here are just a few of CVP’s highlights.

By Jake Ratcliffe, Technical Consultant, CVP

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ARRI announced the Alexa Mini LF just before NAB. Obviously, there has been a range of upgrades to the Mini - the biggest, of course, being the full frame sensor from the original LF - but the more interesting upgrades are what surrounds it. The MVF-1 needed an upgrade and the new MVF-2 looks to be a very nice one. It features the same screen inside as the EVF-2 from the LF, has a whole new design with more function buttons, a larger 4” flip out screen, the ARRICAM eyepiece, and a new CoXPress VF cable.

The cable used for the EVF is also a huge improvement as you can plug it into the camera in any orientation.

ARRI also introduced a new media type from Codex, the Compact Drive. These drives are small, fast and priced competitively, considering the market. We’ll be getting an Alexa Mini LF at our CVP & ARRI Creative Space shortly for demo, so come and have a look.

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There weren’t many other new cameras around, but ZCAM had three new models on display. The S6 was the star of the show - this camera and the ecosystem that ZCAM is trying to build has real promise. We also think the C will be very popular as a budget-conscious E2. We will be getting the full range in to test soon.

Some honourable mentions in optics were the newly shipping Zeiss 21mm and 135mm Supreme primes, Laowa’s latest OOOM & 12mm Zero-D Cine, the Neo Super Baltar’s from Caldwell Photographic and the Canon Sumires.

Elsewhere, Atomos had two exciting releases, the Shogun 7 and the AtomX SDI Module for the Ninja V.

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Aputure presented some exciting new feature-rich and affordable light fixtures; SmallHD launched the standout Cine7 monitor; and we managed to check out the latest from Portkeys, with the stand outs being the BM5, a 2000 nit 5” monitor able to control cameras such as the ZCAM & the OEYE-3G, their

There was lots more of interest, but that’s all we can fit into this article! Check out everything else that we liked at cvp.com or visit one of our creative facilities.

attempt to take on Zacuto’s viewfinders.

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VIERI BOTTAZZINI

T HE LI TTL E

B ROT HER

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GOT BIGGER Testing the New Formatt Hitech Firecrest 85mm with Vieri Bottazzini Formatt Hitech Global Ambassador and Featured Artist

As a Fine Art Landscape Photographer, I use filters every day in the field: square Grad ND and ND filters, 65

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together of course with a polariser. They are my bread and butter, and to use them on my cameras I don’t need just a holder, but a holder that makes my job as easy and as safe as possible.

Since I only use either full-frame 35mm digital cameras or digital medium format cameras, I always needed to use 100mm square filters to avoid vignetting with my wide and ultra-wide angles, especially.

My weapon of choice when it comes to holders is the amazing Formatt-Hitech Firecrest 100mm holder: whilst not perfect, (nothing is!) it’s the best solution I have found so far, after trying Lee, NiSi, and other systems!

Producing their new Formatt-Hitech Firecrest 85mm holder, Formatt-Hitech clearly based its design on the strengths of the Firecrest 100mm holder, an excellent starting point. However, rather than creating just a smaller copy of the 100mm holder, they improved in its many ways, and I was curious to try it out and see what difference the improvements made.

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BUILD AND OPERATIONS The new Formatt-Hitech Firecrest 85mm holder is built like a tank, but its lightweight and a great little travel holder! In use, it is extremely simple to operate with a screw in adapter ring with a built-in polarizer on your lens; fix the holder via a turn of the locking

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screw, and you are ready to slide your 85mm square filters in the slots (ND always closer to the lens). To regulate the amount of polarisation, turn the built-in wheel; to orientate your Grad ND filters and just turn the holder to taste. Done! It’s a really impressive piece of kit.

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MIRRORING THE 100MM HOLDER’S STRENGTH

IMPROVEMENTS AND DIFFERENCES

As mentioned above, the design of the new

While the new Formatt-Hitech Firecrest 85mm holder’s design is clearly based on the Firecrest 100mm holder, it features some definite and very welcome improvements, which – by the way – I am looking forward to seeing in the 100mm holder as well. Let’s see what these are:

Formatt-Hitech Firecrest 85mm holder definitely capitalizes on the strong points of the 100mm Firecrest holder. These points are: 1. Built like a tank, light but strong: materials used are aircraft grade aluminium for the holder and high-grade ABS engineered plastic (not nylon) for the slots. This choice of materials makes the holder both light, at only 110grms including the polarizer, and extremely strong, while ensuring that your filters won’t get scratched by the slots!!

2. Integrated gasket seal to prevent light leaks (remember to always place the ND in the slot closest to the lens!)

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3. Built-in circular polarizer as standard, sitting in the adapter ring.

4. Precision gearing allowing you to turn the integrated circular polarizer independently from the rest of the holder.

5. Step-up / Step-down rings included in the

1. Improved filter slots. Personally, I find this to be the biggest and most significant improvement over the old Firecrest 100mm holder. The springs holding the filters in place are now pushing sideways on the filter rather than up-down, and this makes for much easier insertion and sliding movement of the filters which is fundamental for precise Grad ND placement.

2. Improved locking mechanism. The Firecrest 100mm holder locks in place thanks to a “lip” which you then pull out to unlock. This system works perfectly in terms of keeping the holder in place and allowing for smooth rotation of the holder. Formatt Hitech has recently made some modifications to this, and while I have never had a problem with it, I appreciate, that for some this is not the easiest solution when you need to remove the holder, especially with gloves and with either very cold or sweaty fingers!

package to use your adapter with 58mm, 67mm, 72mm and 77mm lenses right out of the box.

The new Formatt-Hitech Firecrest 85mm holder locks on its adapter rings thanks to the twist of a screw, which is much easier to find and operate, even with the modified lip on the 100mm holder.

The new system definitely gives the impression of being much more solid in securing the holder in place than the old one. My only small grumble with the new design is that it makes turning the holder slightly less easy if you tighten the screw all the way.

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3. The Formatt-Hitech Firecrest 85mm holder lacks the “shells” that are shipped with the 100mm Firecrest holder. Shells are useful in certain circumstances to prevent reflections. Personally, I never found these to be fundamental, they are helpful in some cases, but at the same time they are slightly cumbersome to use; therefore I almost always preferred to use a cleaning cloth to stop stray reflections. In short, it is great to have them on the Firecrest 100mm holder for those situations when you really need them, but not having them on the 85mm system won’t be too much of a problem. Many of my colleagues use hairbands to stop any light leak, and they do the trick as well!

WHO IS THE NEW FORMATT-HITECH FIRECREST 85MM HOLDER FOR? As we all know, your choice of filters and holder depends on the filter sizes of your lenses. Before happily moving to the Hasselblad X1D, I have been using the Leica SL for three years. While a great camera system, the Leica SL’s zooms all sported an 82mm filter thread, and this would have made it impossible for me to use the new Formatt-Hitech Firecrest 85mm holder, which tops at 77mm.

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However, all the new and amazing Hasselblad XCD lenses so far top at 77mm, including the 21mm XCD which, with its 16.5mm focal length equivalent in full-frame 35mm terms, is the widest lens for medium format available today. Therefore, I was happy to be able to try the new FormattHitech Firecrest 85mm holder with my Hasselblad lenses, and I can report that it will work perfectly fine, and without vignetting, on all lenses including the 21mm XCD, where it just shows a shadow of vignette when you turn the holder 45 degrees around.

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I appreciate that my Hasselblad system is an exception in the field of medium format cameras, including the mirrorless Fuji GFX (the 23mm and 250mm have 82mm threads), and that the new Formatt-Hitech Firecrest 85mm holder is clearly aimed at smaller mirrorless systems. If your lenses all have filter threads of 77mm and smaller, the new Formatt-Hitech Firecrest 85mm holder is definitely the best solution available today to use your Formatt-Hitech Firecrest 85mm square filters on your camera.

CONCLUSIONS In short, the new Formatt-Hitech Firecrest 85mm holder is not only a definite improvement on the older 85mm adapter from Formatt-Hitech but in my opinion, is simply the best 85mm filter holder out there today. Furthermore, it offers solutions that I would most definitely welcome in the new version of the Formatt-Hitech Firecrest 100mm holder as well. If your lenses all have filter threads of 77mm and smaller, or if you need a second filter kit to travel smaller and lighter when you want to bring just a few lenses with filter threads under 77mm, the new Formatt-Hitech Firecrest 85mm holder is a no brainer. Frankly, it’s brilliant, and I highly recommend it.

Explore Vieri’s Workshops here: www.vieribottazziniworkshops.com You can see more of Vieri’s work at www.vieribottazzini.com

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