2017 | Fixation

Jonny Helm Review June 1, 2017October 4, 2023

Jack Terry tests the Sony A9

Fixation ambassador Jack Terry is a successful lifestyle and advertising photographer and works with high profile brands such as Audi, Nintendo and Lenovo. Despite his busy workload, Jack shoots a lot of personal projects – to try new concepts and explore ideas that he’ll incorporate into his commercial work.

When Sony announced the A9 earlier this year, we approached Jack and asked him to try the camera alongside his usual Canons. As luck would have it, he was planning to shoot a couple of athletes for his latest fitness portfolio – something the A9 would be perfect for.

Using a new camera – let alone a new camera system – can be a daunting task, trying to find familiar settings and customising the camera so Jack had the camera for a couple of days before the shoot.

Apart from the obvious differences between the A9 and your usual Canons, how easy was it to get to grips with the Sony?

“To be honest, within 10 minutes of handling the A9, I felt pretty comfortable with the camera. A lot of the controls I’m used to such back button focus and command dials were in a similar place to my Canon Cameras, so it didn’t feel too different to use. I spent some time going through the various AF settings, as I was planning on shooting a couple of sprinters, and the menus were fairly self-explanatory.”

Armed with a G Master 70-200mm ƒ/2.8 and a Zeiss ZA 24-70mm ƒ/4, but never having shot on a Sony before, Jack wasn’t sure how the lenses would stack up against his L Series glass.

“The first shot I set up was a runner sprinting alongside a plain wall” explains Jack, “and being familiar with Canon, I tested the shot with a 1DX Mk II first.

“Reviewing the images in Capture One, I noticed the focus kept slipping to the wall, so I thought it would be a good time to test the tracking focus of the Sony”.

“When I was happy we had the first shot, I reviewed both sets of images side by side and was amazed to see that every single shot on the Sony was pin sharp. Even at 20fps, the AF had stayed on the subject and not once drifted. Reviewing frames shot at 20fps is crazy, its like watching a video then pausing when you get to the frame you like.

I switched to the 24-70mm Zeiss and had both runners sprint along the wall, and again, once the focus locked it didn’t shift.”

Not having used a mirrorless camera before, how did you find the EVF?

“I loved it! I often shoot outdoors on location and it’s generally difficult to review images in any great detail unless I’m tethered to my MacBook Pro. On fast moving shoots with multiple locations, to be able to review images in the viewfinder as they appear on a computer was a massive plus. I got so used to using it I even tried doing it on the 1D X by accident! Being able to go through menus when the sun is out was really helpful too.”

How did you feel the Sony glass compared to your Canon lenses in terms of sharpness?

“I honestly couldn’t see any difference between the lenses. I shot the same focal lengths on both cameras and when I was editing the images, I couldn’t tell them apart. Interestingly enough though, I borrowed a Metabones adapter so I could try my Canon lenses on the A9. I’d heard that the AF could be a bit hit and miss, but all my Canon L Series lenses (50mm ƒ/1.2, 100mm ƒ/2.8 Macro, 24-70mm ƒ/2.8 Mk II & 70-200mm ƒ/2.8 Mk II) worked like a dream. I couldn’t even see any noticeable difference in AF speed between the Sony and Canon lenses using the adapter.”

With the Sony being much smaller than a conventional DSLR, did you find the size harder to handle?

“The camera is a lot smaller than a DSLR like the 1D X, but I really liked that. At one point during the day I wanted to get a high angle shot of the runners and decided to climb a rather precarious bridge, which was a lot easier with the A9 than with my 1D X. I would have liked to try the battery grip as I’ve heard the balance is a bit better, especially with the longer lenses, but there wasn’t one available at the time.”

Would you use the A9 for your commercial work?

“Without a doubt. I shoot at a fast pace and usually with moving subjects. I felt the Sony gave me a clear edge compared to the Canon with focus. The ridiculously fast 20fps was also a massive plus point, especially when I could rely on every shot being sharp. I really think this camera is going to shake up the industry a bit and it’ll be interesting to see how Canon and Nikon react.”

Jack was speaking to Tim Stavrinou. You can see more of Jack’s work on his website www.jackterry.co.uk and follow him on Instagram @jackterryphoto

Thank you to Forte Model Management for supplying the athletes

Jon Stapley Feature May 30, 2017October 6, 2023

On the Trail of Iberian Lynx

Nature photographer Luke Massey goes hunting for images of one of the rarest of rare cats

I remember getting a brief glimpse of a Canadian lynx about 15 years ago, and from that moment I was hooked. Most nature enthusiasts have that one species they want to see, and for me it was (and still is) lynx. I just can’t think of a moodier but more stunning-looking cat. Leopards are sexy, lions are a bit dull and jaguars are mean-looking muscle machines but lynx just have it all: the looks, the attitude. They’re awesome.

I’ve tried to see European lynx loads of times, I’ve heard them, found fresh tracks, even fresh droppings, but they’ve continued to evade me. They’re hide and seek masters.

Alongside these lynx you’ve got the Iberian lynx, the rarest cat in the world and maybe the best-looking. An amazing beard, striking ear tufts and these piercing green eyes.

As a photographer it’s my job to educate and inspire. I once read a quote by Sir Peter Scott ‘“We shan’t save all we should like to – but we shall save a great deal more than if we never tried.” I guess I’ve taken that as my motto.

My aim of this project was to tell people about this cat, to try and raise awareness of its plight and ultimately funds for its conservation. In 2001 there were fewer than 100 roaming Spain now there are more than 400 in Spain and Portugal.

Preparation

Whenever I start a new project I research like mad, it’s funny really: my school studies suffered as my photography took off. I even dropped out of university! But I’ve since come full circle and now I try and learn as much as I can about subjects, reading up on them and speaking to scientists to get an understanding of the species.

Once I’ve got that, I (if possible) head to the destination on a recce. This is usually to get the lay of the land and obviously any bonus starting photos/film for the project. I watch my subject (if I can find it) and just work out what it does, where it goes, what it likes etc.

Luckily, before I searched for the lynx I’d spent three months working with leopards in Zambia. Lynx and leopards are both secretive and are both known to ambush hunters so you see a lot of similar behaviours, which helped. The experience meant I could spot a lynx and predict almost exactly where it was going to go. On the recce we had a lynx bonanza, I think I ended up seeing 6 in 5 days, it was incredible.

The shoot

I allowed myself four months in Spain to get what I needed, but I was a little blinded by my recce’s success and I made a couple of errors. My recce was in January, peak breeding season for the lynx, and daytime temperatures reached no more than 20°C, nice and cool for a fur covered animal. Conversely, when I decided to start my project in July, daytime temperatures were hitting the mid-40s. Big mistake. Any sensible lynx (and it seems they all were) hid until nightfall. I got one usable camera trap shot and a captive-bred lynx release in 72 days, I was twiddling my thumbs and getting frustrated by the limits of what I could do. Fortunately, in early September I struck gold, I found two lynx in a bush right by the footpath.

Lynx are not hunted; in fact their numbers are plummeting due to habitat destruction and a rapid decline in their main food source, rabbits. They’re so unthreatened by humans they’re relatively tolerant of us. That’s not to say they’re tame by any means – if you find a GPS-collared lynx, it’ll be gone in seconds, and if you surprise an un-collared lynx, chances are it’ll beat a hasty retreat too. However, this couple were relaxed, and I followed them as they went about their business. They stayed around all day and I got some great stuff.

Alongside wild encounters we worked with the Iberlince Project in Extremadura, attending medical examinations of captive-bred cubs and even some releases. It was important to tell the whole story of what was being done to save the lynx from imminent extinction – if humans hadn’t stepped in 15 years ago, there wouldn’t be an Iberian lynx to even do a project on.

We knew, or at least we expected, that we’d be allowed to attend the release of captive bred lynx into the wild, but we were told by multiple people that it would be incredibly unlikely we’d be able to actually enter a veterinary surgery and see the lynx be collared and have their health checked before release.

It was therefore a privilege to get this access and to watch Vicky Ascencio and her team at work, these people and their colleagues across Spain and Portugal have given this iconic species a second chance, now the next generation, and hopefully many more generations to come can head into Iberia’s hills to spot this cat.

Success and the aftermath

Despite the initial lynx drought, amazingly the project did come together. I’m really pleased with what I got and I feel it really made a difference. We got some artists on board who made lynx-themed pieces, and their endeavours have raised over 500 euros to date. We also teamed up with the charity Wild & Free, who raised £1200, and all of this money has been donated to NGO LPN in Portugal, who are creating lynx habitats.

We also had a six-page feature in Geographical magazine, which goes out to 135,000 people so it was a great way to educate people of the lynx’s plight.

Luke Massey is a wildlife and nature photographer and videographer, and he can be reached at www.lmasseyimages.com. Luke was speaking to Jon Stapley

Jonny Helm Behind The Scenes, Feature May 18, 2017October 6, 2023

Behind The Scenes | Daniel Hambury

Most professional photographers would be happy running their own picture agency, but London-based freelance photographer Daniel Hambury doesn’t believe in resting on his laurels.

In 2002 he set up Stella Pictures to showcase his varied range of commissions, portraits and editorial work. He then went on to set up Focus Images in 2006 – dedicated to Sports photography – offering a huge archive of images and offering live delivery of Premier and Football league shots.

Daniel in the studio | © Matt Writtle

We caught up with Daniel recently over a cuppa to find out what keeps him motivated in his work.

How did you first get interested in photography?

My parents were Leica dealers. They had a shop in east London and then relocated to the Suffolk coast when I was 9 years old. I grew up surrounded by beautiful cameras.

How long have you worked as a professional photographer?

I graduated from Norfolk College of Art in 1993. An ex Evening Standard snapper called Stuart Goodman tipped me off about a local newspaper job in Cambridgeshire. I got it, and started in the November of that year; I’ve been lucky enough to earn my living with my cameras ever since.

What equipment do you normally use?

I’ve shot Nikon my whole working life. I use a pair of D4s for sport with a 400mm ƒ/2.8 along side a 70-200mm ƒ/2.8 and an old D3 as a remote camera. For features/portraits I use a D810 and a D800 alongside prime lenses. I also, unsurprisingly, have a film Leica (M3) and recently purchased a M240.

What do you enjoy most about your job?

I get the chance to shoot sport every weekend at least, which I totally adore. I love football and still play very badly each week. To be up close and personal with some of the world’s best players in the Premier League is a privilege. Of course it’s not just the top division, sometimes it’s more fun at a lower league game. The Premier League is a little ‘clean and sanitised’ whereas ‘real football’ is found in league 1 or 2.

Scott Parker | © Daniel Hambury | PA Photos

In terms of portraiture, I get the chance to spend 20-30 minutes in the company of some very high profile, interesting people. Alongside my love of sport, I very much enjoy politics and so to shoot portraits of these types of people is such a joy.

I am almost always shooting exclusively so I can engage the subject, boss them around a little and hopefully get them to open up. I learnt very early in my career that portraiture is a combined effort between the subject and myself. If they don’t buy in to my idea it shows. I feel I can talk to people from most walks of life and I honestly believe this is an essential skill in an editorial photographer’s armoury.

You take a lot of photographs on your travels. Does it sometimes feel like a busman’s holiday?

No. I would still be taking pictures of my travels even if I weren’t a pro. I’m lucky to have travelled to about 70 countries and to have my camera with me in almost all of them.

I’m a parent of two young boys now, so when they are a little older, my wife and I will undoubtedly travel with backpacks, kids, and a camera again.

To what extent do you rely on Fixation for your work?

I can honestly say that Fixation has saved my working life on two occasions. When kit fails, which it inevitably does, I can trust Barry at Fixation to ‘just make it OK again’. His friendly nature, and world-class professional standards help me to push my kit on a yearly basis. The cameras are just the tools of my trade, so I’m not overly precious about them, which keeps Barry busy! I also buy almost all of my gear from Fixation, as I’m fully aware of how important it is to keep supporting a place that has helped me.

I’ve been a customer for a while now, since the days in Bondway, and it’s great having a dedicated sales team, with Donal and his colleagues.

As well as this, the sofas by the camera bags make for a very nice place to file from, especially when you get a nice cuppa!

Does video feature much in your work, and how important do you think it will be going forward?

I am a massively late adopter of video. In truth the moving image seemed so complicated I procrastinated for a very long time.

Recently I educated myself a little by taking a two-day course and this has helped me lots.

The timing was great as my company was commissioned to shoot two corporate films in 2016. I hired one of my old mates, a professional filmmaker, and assisted him over the 6 and 3 days shooting respectively. I learnt so much, especially how important pre shoot is, and that sound quality is vital.

Since then, more video commissions have come in. Some smaller, which I have shot on my Nikons, and some larger where broadcast cameras were needed.

It is a very different skill from stills, and I still have lots to learn.

Floyd Mayweather | © Daniel Hambury | PA Photos

Your work covers a wide range of genres. Do you have a favourite?

What I really love is the variety of my work. I shoot sport and portraits as I’ve covered but also have a large number of commercial clients alongside a charity I work for regularly. As editorial work becomes harder to maintain a living from, I need these commercial clients so I can survive in the tough market place. I am happy with a camera in my hand, and the fact I can pay the mortgage by taking pictures still means I’m very lucky.

Newmarket Races | © Daniel Hambury | PA Photos

Daniel was talking to Tim Stavrinou.
To see more of his work, see Stella Pictures & Focus Images

Jonny Helm Review May 10, 2017October 4, 2023

Shooting Weddings with the Fuji GFX 50S

North West-based photographer David Stanbury reckons he has the best job in the world. For the last 20+ years, alongside his wife Jane, he has run an award-winning wedding & portrait photography business that grew out of a simple passion for photography & creating images that he loved.

In 2013 David was given the highest honour of being awarded a fellowship in the British Institute of Professional Photography (BIPP) and the Society of Wedding & Portrait Photographers (SWPP) – the highest qualification a photographer can receive and to date has received over 200 International, national & regional awards for his photography.

Earlier this year, David was approached by Fuji, who were looking for professional photographers to test their GFX 50S. A longtime Hasselblad user, David already knew the benefits of medium format for his work and jumped at the chance to road test the then unreleased camera.

We recently caught up with David to talk photography and to hear his views on Fuji’s latest medium format camera.

This must be a busy time of year for you, so thanks for taking the time to speak to us. Can you tell us a little bit about your background and how you got into photography?

I think it’s more a case that photography found me. My parents bought me a camera for my birthday and my Dad said “now go to college & learn how to use it” at the time my reply was why? But that push really sowed the seeds for a passion that is still as strong nearly 25 years later. My break into wedding photography was just as chaotic. Whilst at college I had really fallen in love with the darkroom and hand printing B & W images. A friend of a friend was looking for a wedding photographer but at the time the Pros would only shoot colour and the couple wanted B & W only, so we were introduced and my first wedding I shot, processed and printed the images. As no ‘pro’ photographers seemed to be shooting in B & W I received a steady infux of enquiries and bookings; it seems crazy now but my USP was that I shot B & W photographs. My move into Professional photography was again just as chaotic. I worked for a company and they went bust overnight and with a new home and young family, I found myself out of work. So with £500 of my redundancy money we struck a deal with a local landlord giving me 3 months free rent on a studio, bought a couch, a desk and with 4 16 x 20 prints, opened our first studio…. Yes I still have the couch 😉

[gdlr_quote align=”center” ]We both are the luckiest people in the world, not only do we have the best job in the world travelling all over the world photographing gorgeous people happy & in love, but also being at the beginning of their new journey & documenting with our images two peoples lives change forever.[/gdlr_quote]

What equipment do you use?

In my bag at the moment is my Hasselblad H3D-31 II and a Canon 5D Mk III. Lens-wise I have an 80mm ƒ/2.8 & 28mm ƒ/4 for my Hasselblad (I love the 28mm and use this the most). On the Canon it’s a 16-35mm ƒ/2.8, 24-70mm ƒ/2.8 & 70-200mm ƒ/2.8. I use the 70-200mm the most as I shoot my main images on the Hasselblad and candid on the Canon.

Did you always want to be a wedding photographer?

I have always been the sort of person that if I did something I had to do it ‘properly’, so from the start I wanted to pay for new kit and pretty much from day one, was shooting portraits and then asked to shoot weddings and this then grew. I pretty much fell in love with weddings from my first one – I just loved the adrenalin rush that you get from working under the most intense pressure and then seeing the couples faces when you showed them their images. I’m also very much a people person, I love to socialise and as a wedding photographer you get to meet so many people who are always happy and its just such an addictive career.

You’ve used Hasselblad alongside your Canon gear for many years. How did you find the GFX compared to the Hasselblad?

For me its unfair to compare the two as I’m shooting with an H3D and the jump from that to the GFX is immense. What I can say is that I’ve always wanted a medium format camera that has high ISO, low noise and is light enough so I can carry all day and the GFX certainly ticks these boxes. The GFX has so many features that I feel makes it the perfect medium format camera for wedding photographers, the touch screen is sharp, fast and the ability to tilt makes it easy to get those high and low angles. I really fell in love with the EVF and the lenses I found fast & incredibly sharp. I’ve pretty much used them all but the GF32-64mm ƒ/4 & GF110mm ƒ/2 are my favourites and could pretty much shoot a full wedding with just these 2 lenses.

Do you get involved in video with your wedding work?

I’ve just recently resurrected my YouTube channel (David Stanbury) to show Behind the Scenes footage from our personal shoots, weddings & workshops and am just as excited about getting ‘moving images’ into my workflow and think this is going to become a much bigger part of our shooting style.

Do you shoot any personal projects or do the weddings keep you busy?

We are always busy with weddings, but I’m very much an advocate of ‘practice makes perfect’ and personal shoots are a perfect way to keep my brain ticking and my photography creative – It’s my testing ground for new ideas, styles and approaches to our photography. One thing I’m very mindful of is I NEVER want photography to become a job, so stepping out of my comfort zone, trying different things and creating new images is my hobby and what I do to relax.

You offer 1-2-1 training for wedding photographers. Is it rewarding to give something back to a business you obviously enjoy?

Yes,YES,YES!!!! I have seriously the best job in the world, people pay me to be part of the biggest day of their life, they pay me to travel the world to photograph their day, photography companies have asked me to be a part of their future plans and new products, photography has given me so many amazing memories but mostly amazing friends and I feel its my duty to give back to an industry that has given me so much. One thing I’m most proud of is that I hope people now see wedding photographers with the respect they deserve. We have the hardest job in photography, we have only one chance to get it right whilst working in the most demanding of situations, we don’t have the luxury of reshoots or 8 hours for 1 image, we HAVE to deliver the goods fast and consistently week in week out, and this is what I want to get across to new photographers on our workshops who come to learn how to create their signature images in this demanding world.

David was speaking to Tim Stavrinou

David Stanbury FSWPP, FBIPP

www.stanburyphotography.co.uk

About David

David Stanbury FBIPP, FSWPP is a Multi Award Winning Wedding Photographer based in the North West of England with a career spanning over 20 years & shooting weddings in the UK & Worldwide.

David’s accolades include over 200 National & Regional awards including UK Wedding Photographer of the Year, UK Wedding Album of the Year and a Finalist in the Prestigious Hasselblad Masters. David is proud to have received a Fellowship in Wedding Photography from the SWPP & the BIPP.

David has presented sell out workshops & seminars on all aspects of wedding photography throughout the UK, Europe and America. David is a photography consultant, mentor & Judge and has judged national & International photography competitions.

David’s style is described as stylish & timeless and is very much in demand by couples who require the very best in wedding photography. He has a passion for photography and creating the perfect image combining all the aspects of the Wedding but also understands that being a people person is just as important.

The Fuji GFX 50S is available to hire from our rental department, or for demonstration in our South London store. Call us on 020 7582 3294 or email admin@www.fixationuk.com for more info

Jonny Helm Feature May 2, 2017October 6, 2023

Stuart Freedman | The Englishman and the Eel

Stuart Freedman was born in London and has been a photographer since 1991. His work has been published in, amongst others, Life, Geo, Time, Der Spiegel, Newsweek, The Sunday Times Magazine and Paris Match covering stories from Albania to Afghanistan and from former Yugoslavia to Haiti.

We sat down with Stuart recently to talk photography and discuss his latest Kickstarter-funded project – The Englishman and the Eel; a journey into the culture of that most London of institutions, the Eel, Pie and Mash shop.

How did you first get into photography?

I did a politics degree and in my final year discovered a magazine called Photography. Edited by Nigel Skelsey (Telegraph) and Victoria Lukens (who I’d go onto work for at the Indie on Sunday Magazine a decade later) it was a beautiful and serious magazine (in contrast to all the other photo mags at the time) that showcased extraordinary work. I had no interest in photography up until that point but I thought, ‘this is what I really want to do’. I was of course a terrible photographer (still am) but that initial spark was the way in for me. After graduation, I came back to London put a really appalling folio together and just went from there… I first joined Select Photos in the early 1990s shooting mostly for European magazines moving to FSP/Gamma Presse a few years later. I’m very proud to have been a full member of Network Photographers in 1999 where I stayed until we sadly closed when I joined Panos.

[gdlr_quote align=”center” ]I’ve spent the last twenty five years making work mostly in Asia and Africa. I wanted however to re-explore my roots and The Englishman and the Eel is an attempt to do just that – recording these simple spaces that hold within them much of the memories of a rich, largely undocumented cultural heritage of generations of working-class Londoners in a city whose only constant is change.[/gdlr_quote]

Says Stuart “Today’s eel, pie and mash shops are now havens for what the East End once was – but this is not a work of nostalgia. I’ve travelled to Lough Neagh in Northern Ireland to photograph eel fishing. I’ve made work at both Barney’s and Mick’s Eels, the two companies that process the fish. I’ve photographed and written about Millwall fans (who sing of the eel) and recorded those that now eat their pies and eels at home, too elderly and frail to journey to the shops. Lastly, I have followed the bleed of the East End to it’s new spiritual home in Essex where Pie and Mash shops are undergoing something of an renaissance. Identifying as they do with a re-imagined and distilled working-class culture that is geographically separate from their traditional roots.

“The Englishman and the Eel is not an encyclopaedic record of every shop, rather I’ve documented what I believe to be the most interesting and significant ones to make a book that I hope is a tribute to a changing institution and I’ve used the eel as a metaphor and symbol of that cultural change. In that sense the book is a companion piece to my last, The Palaces of Memories (Dewi Lewis 2015) – a finalist for best photobook at POYi in America in 2016 – about the Indian Coffee Houses that reminded me so much of my own past – the greasy spoon cafes of Hackney – during my twenty years working and living in India. The Coffee Houses were translational devices that allowed me to see an everyday India away from the stereotypes and understand that people were the same the world over. I hope The Englishman and the Eel will, in the same way, introduce the eel, pie and mash shops to another new audience.”

You’ve been a friend and customer at Fixation for many years. To what extent do you rely on us for your work?

Well, Fixation is the only place I’d ever come to – and ever have come to – for repairs and servicing. No question.

What camera equipment do you use?

I use a couple of Canon 5D Mk III’s and a Leica M-P(240) – but over the years, I’ve used pretty much everything from 6 x 6 to 5 x 4.

You mention that The Englishman and the Eel is almost a companion piece to your last book. Do you have any plans to produce a trilogy?

I don’t think so. I think I’ve said enough about spaces of memory and my past and the next book will be something completely different.

Stuart was speaking to Tim Stavrinou.

To learn more about the project, visit Stuart’s Kickstarter page.

The book will again be published by Dewi Lewis late in 2017.

www.stuartfreedman.com

About Stuart

His work has been recognised in many awards, from amongst others, Amnesty International (twice), Pictures of the Year, The World Sports Photo Award, The Royal Photographic Society and UNICEF. In 1998 he was selected for the World Press Masterclass and the following year for the Agfa Young Photojournalist of the Year.

In 1999 he was invited to speak on Capitol Hill in the USA about the atrocities in Sierra Leone where his initial work on the Mutilated premiered. In 2004 he addressed the Oxford Union about the continued suffering of that country.

His work has been exhibited widely. Solo shows include Visa Pour L’Image at Perpignan, The Scoop Festival in Anjou, The Leica Gallery in Germany, The Foire du Livre (Brussels), The Museum of Ethnography (Stockholm), The Association and the Spitz Galleries in London. His work on HIV/AIDS in Rwanda and from post-conflict South of Lebanon have toured extensively internationally.

He regularly judges awards and has twice been a judge for the Amnesty Media Awards. He has guest lectured to students in schools across the UK at amongst others, Swansea Metropolitan University, Falmouth University, Regents University and The London College of Communication (LCC). In addition he has written (and taught) the Photojournalism module for the Visual Journalism MA at Nottingham Trent University.

In 2016, his new book, The Palaces of Memory was a finalist at POYi for Best Photography Book of the Year and was chosen for The American Photography Annual (AI-AP).

He continues to write and photograph for a variety of editorial and commercial clients and is a member of Panos Pictures in London.

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Yearly Archives: 2017