My go to light modifiers in general are a beauty dish or an octabox, which are generally the first types of light modifiers photographers buy after they have experimented with umbrellas and soft boxes, because of the nice quality of light those light modifiers produce. Recently I got to photograph Muay Thai boxer, Lawrence Brown and when I started planning the photoshoot, I knew I would want to light Lawrence with a four point lighting set up, which would include two strip boxes.
Why you may ask… well I knew I wanted to have the side Lawrence’s body illuminated and not lit in a flat way with one big light modifier. So I rented out two Profoto 1 x 6′ strip boxes. The long shape of the strip box, creates a unique light fall-off, which gives a soft, but dramatic light.
In controlling the spread of light and how it falls on the boxer, I created more of a dramatic mood. I did have a grid which I could have used, to control the light fall off even more, but when I did the test shots without the grid earlier on, it seemed to work perfectly. Although I didn’t need to use the grid, I do recommend you bring it on set, just in case you need to contain the spread of light.
When I set up lights for a photoshoot, I always build the lights one by one, so I started off with the right strip box and then the left strip box to get the right exposure for the sides of his body. I had the strip boxes in the boxing ring originally, but found that I didn’t get a nice light fall off, so I moved the strip boxes outside of the boxing ring. Once I was happy with the look of the light on the sides of Lawrence, I then exposed correctly for the back light and then the main light. Below is a photo of just the use of the strip boxes.
I used a reflector as the light modifier on an Elinchrom light for the back light, to add light to his hair, so it wouldn’t get lot when I made the background darker in photoshop. I flagged the light at the bottom of the reflector, to reduce the light that was spilling onto his shoulders. I used a beauty dish, with silver on the inside, for the main light. I choose this light modifier to give a slightly contrasty look. I didn’t want to use a soft box and make the light too soft. Below is a BTS photo so you can see my lighting set up.
The result that I was after, are shown in the photos below. A combination of dramatic lighting, but soft and flattering. The 1 x 6 long strip box, was a great choice as it pumped out enough light that reached some of the shadows, this allowed the transition between light and shade, more soft and gentle.
If you have time and access to a venue where you are doing a photoshoot, it’s always a good idea to check what the location looks like before the day of the photoshoot. Unfortunately I was unable to see the gym beforehand due to lack of time. So when I turned up at 7am, I was faced with a busy gym and a lot of boxers training. This then limited me to using one side of the ring away from people but I faced the problem of having the ropes of the ring next to a wall cluttered with posters and signs. At that point I made the conscious decision that I would darken the background in photoshop, to eliminate the distracting wall. Below are the retouched images.
For the next set of photos, I wanted Lawrence sitting down in the ring, I moved the lights to the other corner of the ring, because I wanted to get the look and feel of Lawrence in a boxing ring that was in a gym. This was the corner that would have me facing the problem of people walking behind Lawrence. I cut the ambient light quite a bit using high speed sync, but I didn’t want to kill off too much light, so I kept an eye to see when I could photograph safely. For this set up, I changed the colour temperature in camera to give a more cooler tone to the image. Again I used all four lights with the strip boxes working their magic on Lawrence to produce a dramatic and contrasty look.
Its always a good time to check that your camera is in good working order and that all important sensor is free from dust.
As any professional photographer will know, the build-up of dust on a DSLR sensor can have an adverse effect on the final shot, especially apparent in light areas of the scene when a small aperture is used and the image is viewed at a high resolution. DSLR sensors are a magnet for dust so professional maintenance is very important. While there are steps that can be taken to avoid exposure, dust build-up is inevitable, which is why sensor cleaning becomes necessary on a regular basis.
We are often asked how often sensor cleaning is needed. There is no one answer to this question as it depends on the frequency of use and working environment that your camera is exposed to. We recommend you check your sensor by taking a picture of a clear background or blue sky with a small f-stop and checking the image at 100% on a computer. This should be done before any important job, event or trip away to make sure you have clear images when it’s most important.
Here’s a handy tip of how to keep your sensor clean for longer.
Attach a double-sided sticky tab on the inside of your body cap and rear lens cap. If any large pieces of errant dust are floating around on the back of your lens, or in the mirror box, they will stick to the tab and not the sensor.
Be careful not to use high-tack sticky tape or you’ll have issues removing it from the inside of your cap when it needs changing.
Sony’s Alpha stable has been going from strength to strength since the introduction of the first Alpha 7 cameras in 2013, with a generous stable of models in both the full-frame and APS-C ranges. It can be a little daunting to sort through all the models available to suss out which one is for you. Fortunately, we’ve got a comprehensive guide to every camera in the system for you right here.
Read on to see which is the Sony Alpha camera for you…
Full-frame
Sony α7 III
This is the most recent camera to join the Sony alpha family. It’s the third iteration in the a7 series that started it all, boasting a 24.2MP sensor just like the two that came before it. New to this sensor, however, is a backside-illuminated architecture that improves its ability to handle noise, making for better low-light performance and a higher extendable maximum ISO of 204,800.
The sensor’s upgraded architecture also improves its readout speed, making for all-around faster performance assisted by Sony’s Bionz X processor. This means up to 10fps shooting with autofocus, and a generous buffer of 189 JPEGs, 82 compressed Raws or 40 uncompressed Raws in a single burst. Elsewhere you’ve got sophisticated 5-axis optical image stabilisation, an autofocus system with 693 points, and sophisticated monitoring options thanks to the 2.3-million-dot EVF and tilting touch LCD screen.
The a7 series may be the most straightforward of Sony’s full-frame mirrorless range, but as the a7 III demonstrates, there’s nothing basic about it.
Key features
Sensor: 24.2MP full-frame CMOS sensor with back-illuminated design
ISO range: 100-51,200 (expandable to 50-204,800)
Burst speed: 10fps
Max video resolution: 4K 30p (HDR video available)
Sony α7 II
Though the a7 II used the same sensor as its predecessor the a7, it brought a number of ergonomic and internal improvements to the table. It was the first of Sony’s full-frame mirrorless range to feature in-body image stabilisation, the 5-axis SteadyShot system that allows for significantly slower shutter speeds to be used handheld. The body of the camera also got a redesign, with a more pronounced grip to evoke DSLR-style handling without compromising on the small and light build that makes the mirrorless range so attractive.
Key features
Sensor: 24.3MP full-frame Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 50)
Burst speed: 5fps
Max video resolution: Full HD 60p
Sony α7
It all began back in 2013 with a pair of true game-changers. This was one — the original Sony a7, a full-frame camera packing the power of a DSLR into the body of a CSC. A 24.3MP full-frame sensor working with the powerful Bionz X processor to ensure fast and high-quality shooting, the Sony a7 was an amazing camera for 2013, and to be honest it holds up pretty well today. It lacks the fancy features that would arrive on subsequent cameras, such as a touchscreen and the ability to shoot 4K video, but it was and is a superb step forward for mirrorless photography.
Key features
Sensor: 24.3MP full-frame Exmor CMOS Sensor
ISO range: 100-25,600 (expandable to 50)
Burst speed: 5fps
Max video resolution: Full HD 60p
Sony α7R III
The a7R cameras are the resolution beasts of the Sony stable, boasting massive megapixel counts on their full-frame sensors. They have earned the adulation and loyalty of plenty of landscape shooters ever since the first a7R.
The third iteration of this series keeps things mega-high-quality, with a 42MP full-frame Exmor R BSI CMOS sensor powered by the Bionz X processor. For a sensor like this you want the best-in-class in terms of monitoring, which the a7R III readily supplies in the form of a 3.69-million-dot Tru-Finder OLED electronic viewfinder, and a 3-inch 1.44-million-dot tilting touchscreen LCD. It inherits a few features from Sony’s speedster, the a9 (more on which anon), such as its dual card slots, its fast silent shooting (up to 10fps with nary a whisper) and its tough mechanical shutter. Built to last, the a7R III won’t let you down.
Key features
Sensor: 42MP full-frame Exmor R BSI CMOS sensor
ISO range: 100-32,000 (expandable to 50-102,400)
Burst speed: 10fps
Max video resolution: 4K 30p
Sony α7R II
This was the camera that bumped the a7R line up from 36MP to 42MP, with a backside-illuminated sensor that promised peerless image quality in another impressively small body. The a7R II also offered improved readout speed thanks to a worked-over sensor architecture, which used copper wiring instead of aluminium. This made for improved autofocus speed, as well as generally better performance in other areas.
Key features
Sensor: 42MP full-frame Exmor R BSI CMOS sensor
ISO range: 100-25,600 (expandable to 50–102,400)
Burst speed: 5fps
Max video resolution: 4K 30p
Sony α7R
This was the other of the first Alpha 7 releases, debuting alongside the original Sony a7 in 2013. The key difference between the two was in the sensor, which on the a7R carried a resolution of 36.4MP, with no anti-aliasing filter in order to squeeze the maximum potential out of it. Other bonuses included a 2.4-million-dot EVF and an external microphone socket for video shooters, while trade-offs from the lower-resolution a7 included a less sophisticated autofocus system and slower burst shooting.
Key features
Sensor: 36.4MP full-frame Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 50)
Burst speed: 4fps
Max video resolution: Full HD 60p
Sony α7S II
The pro video world fell head over heels for the first a7S camera on its release back in 2014, and the a7S II builds on that success with a raft of improvements, as well as keeping what worked about the original.
The key to the a7S range lies in their sensors, which eschew the generous megapixel counts of the likes of the a7R for a resolution of just 12MP. This allows for much-improved low-light performance, and the a7S II is able to shoot at a whopping maximum ISO level of 409,600, and offers a wide dynamic range. Whereas the original a7S needed an external recorder to record 4K video, the a7S II does it internally, recording with full pixel readout without pixel binning, at a bit rate of up to 100Mbps. Advanced movie features such as the S-Log3 colour profile and 120fps Full HD recording make for a seriously comprehensive video package.
That’s not to say that stills shooters are forgotten about — as well as the aforementioned low-light prowess, the A7S II also provides a sophisticated, intelligent autofocus system with 169 points.
Key features
Sensor: 12.2MP full-frame Exmor CMOS sensor
ISO range: 100-102,400 (expandable to ISO 50-409,600)
Burst speed: 5fps
Max video resolution: 4K 30p
Sony α7S
The original a7S, arriving a little after the a7 and the A7R. Using the same 12.2MP sensor as the camera that would follow it, the a7S wowed photographers and videographers alike with its incredible low-light capabilities, and began a small video revolution. It was the camera that caused video shooters to start jumping to Sony in earnest, and it still performs well four years down the line.
Key features
Sensor: 12.2 MP full-frame Exmor CMOS sensor
ISO range: 100-102,400 (expandable to ISO 50-409,600)
Burst speed: 5fps
Max video resolution: 4K 30p (with external recorder)
Sony α9
Speed is the name of the game when it comes to Sony’s a9, which debuted in 2017. Its ability to shoot at up to 20fps with no viewfinder blackout is complemented by a 693-point AF system, which you can read more about in our autofocus guide [link]. Elsewhere, users can make use of the a9’s two SD card slots to ensure they don’t run out of space for all the files they’re creating, while the silent electronic shutter expands the a9’s usability for wedding work.
Using the electronic viewfinder, photographers can shoot at maximum shutter speeds of 1/32,000sec, while 5-axis SteadyShot image stabilisation and a maximum expandable ISO of 204,800 ensure that the a9 has serious low-light chops. Speedy and versatile, the a9 deserves the serious consideration of any pro photographer.
The APS-C flagship of the Sony stable, the a6500 is a sophisticated camera that should certainly not be dismissed just because of its smaller sensor. It’s an action powerhouse, offering a 425-point 4D focus system and an 11fps burst rate with a generous buffer able to capture 307 full-size JPEGs or 107 Raws, which represents a considerable improvement over its predecessor the a6300, which would manage 44 JPEGs or 22 Raws.
The a6500 is also the first of Sony’s APS-C range to gain in-body image stabilisation, while new algorithms improve noise reduction. When you add on 4K video and slow-motion video at 120fps, the a6500 really does start to look like a complete package. Definitely not one to count out.
Key features
Sensor: 24.2MP APS-C Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 51,200)
Burst speed: 11fps
Max video resolution: 4K 30p
Sony α6300
The a6300 preceded the a6500 by only half a year, so there’s a lot of similarity, making for a potential bargain if you’re unfussed about some of the a6500’s flashier features. You still get that lightning-fast and sophisticated autofocus system, as well as 4K video and the generous ISO sensitivity range. The a6300 is still a very good buy.
Key features
Sensor: 24.2MP APS-C Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 51,200)
Burst speed: 11fps
Max video resolution: 4K 30p
Sony α6000
The Sony a6000 was sold with the tagline “quicker autofocus than a DSLR”, though really its key USP was quicker everything. Thanks to the inclusion of the Bionz X processor, the Sony a6000 not only focuses fast, it also shoots fast and starts up fast. Its hybrid AF system of contrast- and phase-detection points isn’t much on its successors, but still works at an impressive clip.
Key features
Sensor: 24.3MP APS-C Exmor CMOS sensor
ISO range: 100-25,600
Burst speed: 11fps
Max video resolution: Full HD 60p
Sony α5100
The a5100 debuted to nestle comfortably between the a5000 and a6000 in the APS-C lineup, borrowing the sensor and hybrid AF system from the latter. While it lacks a viewfinder, the tilting touchscreen is a useful addition for monitoring, and five customisable buttons on the rear allow the a5100’s controls to be tuned to taste.
Key features
Sensor: 24.3MP APS-C Exmor CMOS sensor
ISO range: 100-25,600
Burst speed: 6fps
Max video resolution: Full HD 60p
Sony α5000
The a5000 refreshed the stale CSCs of the former NEX line, setting the stage for the sleek, compact-esque look of the APS-C models that would continue through to the a6500. It also added now-standard features such as Wi-Fi connectivity.
Key features
Sensor: 20.1MP Exmor APS-C CMOS sensor
ISO range: 100-16,000
Burst speed: 3.5fps
Max video resolution: Full HD 60i
Sony α3000
The first camera to arrive bearing the Alpha branding, the a3000 sticks out from the rest of the range thanks to its SLR-esque styling, which is more visually reminiscent of A-mount cameras like the A99.
Lithium-Ion rechargeable batteries are responsible for running just about every piece of powered kit in a photographer’s arsenal, and let’s face it, most of us have at least a couple of spare batteries with our cameras.
Li-ion batteries don’t suffer the same memory problems as the old NiCad versions used to, but they still need a certain degree of maintenance to ensure they keep running as long as possible.
Brand new batteries
These will often carry a small charge straight out of the box, but should be fully charged before using and will often take 3 or 4 charges before they reach maximum capacity.
Ongoing care
If you’re not using your camera for an extended period of time, it’s a good idea to remove the battery from your camera, fully charge the battery and store it separately. Left installed in the camera, minute amounts of current flow will discharge a battery over time.
Remember the little plastic cover that shipped with your battery? It’s there to keep any dirt from fouling the connectors and reduces the chances of anything touching the contacts and potentially shorting the battery.
Tempting though it is, try and avoid charging a battery that already shows a full charge; you will shorten its life unnecessarily.
Cold weather
In cold conditions, the battery may require frequent recharging even when fully charged. It’s a good idea to keep a fully-charged spare battery in a warm place and exchange as necessary when taking pictures in cold weather.
More and more professional photographers are diversifying their skillsets, adding video production to the list of services they can offer their clients. Camera technology is changing accordingly, with video on new models no longer thought of as an optional afterthought, but an essential headline feature.
Few camera lines better exemplify this than Canon’s EOS 5D series, the revolutionary progenitor of DSLR filmmaking. Canon’s EOS 5D DSLRs offer both superb stills performance and exceptional video capabilities, none more so than the latest in the series, the EOS 5D Mark IV.
The ears of every filmmaker pricked up last year when Canon announced that it would be bringing something special to the EOS 5D Mark IV – its Canon Log colour profile from the Cinema EOS range, more commonly known as C-Log.
So what is C-Log, and why does it get filmmakers so interested? Let’s take a closer look.
What is C-Log?
As mentioned above, Canon Log Gamma was first introduced on the Cinema EOS range of pro video-oriented cameras. It’s been around for years, but the Canon EOS 5D Mark IV represents its first appearance in the DSLR range.
Put simply, it’s a colour profile for shooting video. It’s a logarithmic tone curve, delivering an image with 12 stops of dynamic range at ISO 400 or higher, preserving the maximum amount of detail possible in shadows and highlights.
If you were to look at footage shot in C-Log straight out of camera, you might wonder what all the fuss is about, as it’ll look flat, dull and really rather grey. This, however, is precisely the point. C-Log is designed to provide maximum flexibility in video post-production. Those preserved colour details and low-noise shadows mean you can tailor the look of shots exactly as you want it, giving you complete control over the final product.
Another useful aspect of the fact that C-Log has been ported from the Cinema EOS line to the EOS 5D Mark IV is that it ensures continuity between cameras – you can take footage shot on your EOS C300 Mark II and your EOS 5D Mark IV and grade it all to give it a consistent look. This means that if you decide to step up your video production and invest in the Cinema EOS line, your 5D Mark IV will still be useful as a B-camera.
Using C-Log on the 5D Mark IV
Once C-Log is installed on your EOS 5D Mark IV, there are a few tips and tricks that are well worth being aware of in order to use it effectively.
One useful function the camera offers is View Assist. Remember, your footage shot in C-Log is going to look pretty flat and uninteresting on the view screen, as the colour comes out in the grade. This can make it difficult to get a feel for the quality of what you’re shooting. View Assist solves this problem by giving the shot a pre-made LUT (a basic colour grade) in the view screen, making it look more like the final product for the shooter while still capturing that lovely flat Log profile for the grade. It’s also possible to tune your Log image in the settings menu of the 5D Mark IV, turning up the contrast or saturation if you’re after a specific look.
Canon has ensured that some of the EOS 5D Mark IV’s key features are compatible with C-Log shooting. The powerful Dual Pixel CMOS autofocus system can be used when shooting C-Log, allowing for fast and accurate focusing, though it is worth being aware that C-Log may cause the AF system to struggle a little more than usual in low-light or low-contrast situations. Shooters can also film Full HD at up to 120fps, as well as 4K at 25fps.
It’s worth knowing that there are a few modes that are not compatible with C-Log shooting – these are: Picture Style, Auto Lighting Optimiser, Highlight Tone Priority, Time-lapse Movies and HDR movies.
Watch out for banding
While the vast majority of the time your C-Log footage should come out beautifully, Canon notes that there are a few situations and settings that could cause some horizontal noise patterns when using the profile. Canon says, “The colour gradation of the sky or white walls may not be reproduced correctly. Irregular colours, irregular exposure or noise may appear.”
As stated by Canon, the presence or absence of banding in C-Log footage will depend on a number of factors – the lighting, the nature of subject, the movement of the subject or camera, and just in general the environment you’re shooting in. This is why you always want to do some test shots before you start filming in earnest.
If you do encounter some banding, there are a number of ways to remedy it. Shooting at a lower ISO is a good option if possible (Canon generally recommends an ISO setting of 400 as being optimal for shooting in C-Log), and you can also correct the problem the old-fashioned way by simply adding some more light if you have it. Another potential solution is to delve into the menus and disable peripheral illumination correction, though of course, you always have the option of handling correction in post.
Getting C-Log on the 5D Mark IV
So, you’ve got your 5D Mark IV and now you need C-Log? Well, it’s a little different from a normal firmware in that you can’t simply download and install the update yourself – you need to get it done by professionals.
The good news though is that your friendly Fixation techs can get the update installed for you, for the same price as the official Canon team – just £69.25 plus VAT! Head to our Canon repair page and we’ll get you all set to go.
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