The Fixation Blog | Fixation

Jonny Helm Feature September 27, 2017October 11, 2023 0 Comments

Daniel Kemeys | 10 Days, One Road

We have so many regular customers – faces that we’ve known and enjoyed serving over the years, but it’s always nice when new customer catches our eye.

25 year old Daniel Kemeys is a visual effects artists for Framestore and has worked on projects such as Guardians Of The Galaxy 2, The Martian and Suicide Squad. Prior to that he was at MPC and was part of the compositing team that won the VFX Oscar for Disney’s The Jungle Book.

To have such a wealth of experience under his belt at such a young age is impressive enough, but it was Daniel’s short film ’10 Days, One Road’ that caught our eye. Shot in Iceland using a Phantom 4 Drone and a Sony A7R II, the film captures the stunning landscape and diverse weather conditions that Daniel and his girlfriend experienced on their 10 day road trip.

We weren’t the only ones impressed. National Geographic Traveller recently featured it as their video of the week.

10 Days, One Road from Daniel Kemeys on Vimeo.

We caught up with Daniel over a coffee in the Fixation showroom to find out more about his work.

Thanks for taking the time to chat to us Daniel. Can you tell us a little bit about yourself?

No problem Tim, thanks for having me! Yeah, well my name is Dan, I was born in Wales, studied at the University of South Wales and now I’m currently living in London. I’m a digital Compositor for films, currently knee deep in action working on an exciting Marvel project at Framestore.

How much planning goes into a project like 10 Days, One Road?

Well, it’s a bit of a tough question, a lot of planning goes into where you want to travel especially when road tripping around an island for ten days! Planning ahead and booking was a big factor but there are advantages and disadvantages to planning everything ahead of time. I’d say the most time goes into location research, then you can get a rough idea of what you want to shoot, but it’s all totally down to the moment of when you’re there and weather conditions.

Did you shoot many stills to almost provide an ongoing storyboard or were the sequences made up on the fly?

Usually when I’m doing projects I find storyboarding a crucial process… but travel films are totally different, you just shoot what ever you can, get the most content possible and then shuffle through and pick the best bits to put something together at the end. It’s kind of nice, it’s making the most out of what you can’t control. I like that, a true artist comes out when they have to work with what they’ve got. For us, we wanted to capture a narrative and our journey travelling, not just what we saw as this was going to be a diary for us to look back on.

So it was a question of gauging the surroundings and working with the conditions?

Totally, capture everything as much as possible and hope for the best when it comes to footage. Then you need to put in the work to make sure it all fits together and flows, which can be the most difficult part.

I’ve read that you particularly wanted the piece to have a filmic look. How did you achieve that?

Yeah, for sure. I’m a big fan of the filmic look and film in general. It’s pretty difficult and expensive to take a film camera on a trip when filming everything is your main objective, so I looked into different grain overlays that I could apply in post, used some lens effects to separate the channels to give the footage some subtle chromatic aberration. Then I looked at the colours you find in film, the punchy contrast and mellow hues were a big factor in my film, nothing was oversaturated.

Hana and I had a particular vision for the film already, wanting a strong travel narrative of our experiences. We’d sit down and have a daily review of each version, almost like I would have my work reviewed by my supervisors at work. Basically my girlfriend was my supervisor, haha.

Do you have any more projects like this planned?

Yep, I have a pretty big personal project on the go called “The Forgotten Nation.” I’m super excited to share this one but I have a hefty amount of work ahead of myself. I have a few other projects in the works, 2 particularly large ones off the back of the Iceland film, they’ll be very fun also as we’ve partnered with with some cool brands.

You obviously have a passion for cinematography but I understand you’re also a keen stills photographer. Do you often look for ways to combine the two mediums or do you prefer to keep your work separate?

I do like to have fun with both, I usually shoot a mixture of stuff. I really like posters, so I’ll always snap a still but with a cinematic style. I find stills so powerful. The amount you can take from a still image is pretty exciting, especially if it’s continued into moving images. I’m a big fan of thumbnails, especially on Vimeo, I’ll watch something if I like the thumbnail and the typeface used.

I’d say I’m a pretty decent photographer. I’m still learning and growing as a photographer and I like to think of myself as a sponge in all aspects of this industry. I’ve been involved in video for so long now I find it second nature, even though I’m always learning. I’ve always been pretty confident with moving images. I’d really like to push my limits and get a hold on the photography game, learn portraiture, and read some books on photography while travelling and shooting.

You’ve been involved in VFX for a few years now. How quickly do you think the industry is changing?

Yep, almost 3 years now as a professional, the industry is changing rapidly, the skill level has risen inside the industry and in the university circuit. It’s a competitive industry. I’m loving my life at the moment as I get to work on the coolest films day in day out and my eye is getting trained for much larger things than just VFX. I find myself having incredibly high standards in all areas of content creation, from photos, film, VFX & design, everything must be beautiful and most importantly, I want everything that I produce to capture a story of some kind.

Where do you see yourself in 10 years time?

10 years is a long time. I don’t really like to look that far ahead usually but I’d be a pretty experienced VFX artist by then… if I remain in the industry, I’d either be a VFX supervisor or before I ever get that far I’d depart the VFX industry to peruse my own independent ventures, creating my own films, running my own business… who knows? I don’t see a ceiling, that’s what I love about this journey I’m on, I have many options and I’m open to opportunities.

Gareth Edwards used to be a VFX artist… he directed Star Wars: Rogue One last year… so maybe I’ll direct a Star Wars movie in 10 years, haha!

I know I’ll be doing something cool, which is all I care about in all honesty. You can see more of Daniel’s work on his Vimeo feed here,

Daniel was talking to Tim Stavrinou

Jonny Helm News September 19, 2017February 7, 2024 2 Comments

Profoto launches world’s smallest studio flash

Profoto have today launched the A1 – the world’s smallest studio flash.

Although designed as an on-camera flash, it’s also very effective off-camera as a standalone unit and works seamlessly with other Profoto lights, even with AirTTL and HSS.

The Profoto A1 resembles a speed light and is designed with light shaping capabilities; it has a unique round head with a soft, smooth fall-off that makes it easy to create a natural and beautiful light. It also includes a smart magnetic mount and three dedicated A1 Light Shaping Tools that click on and off quickly and easily – a Dome Diffuser, Wide Lens and Bounce Card. They can be stacked for more creative options. The A1 also offers a built-in LED modeling light that makes it easy to set the light and understand how light and shadows work together.

Power is provided via a dedicated Li-Ion high capacity battery that lasts up to four times longer than AA batteries with no performance fade, and a facility to recharge quickly.

Features

Round head with soft, smooth and natural fall off
AirTTL and HSS for a beautiful professional image
Smart magnetic click-on mount for A1 Light Shaping Tools
5 dedicated A1 Light Shaping Tools available
LED modeling light integrated to the head
Air Remote built-in
Rechargeable and exchangeable Li-Ion battery
1.2s recycling time
TTL/Manual switch
Built in motor-zoom with hand control
Auto focus (AF) assist
Large Hi-Res display
Support for Canon, Nikon and Sony (to follow)

It’s also extremely easy to use with a large, clean and clear user interface. Like all Profoto products, it’s intuitive and you don’t need to read a long instruction manual to understand how it works. It will be initially available in Nikon and Canon TTL fittings with Sony to follow in the near future.

The Soft Bounce and Gel Holder are sold separately; the Dome Diffuser, Wide Lens and Bounce card are supplied as standard

The A1 will be available from the 26th September and pre-orders can be taken now through our sales department: sales@fixationuk.com or 020 7582 3294

Jonny Helm Tips & Tricks September 18, 2017October 6, 2023 0 Comments

Tips & Tricks | Memory card lamp

You’ll have all noticed the little light that blinks every now and then on the back of your DSLR; red on a Canon, green on a Nikon.

It’s there to indicate that the camera is accessing the card, either to write data when shooting or read data when previewing images. Something important to bear in mind though, is that you should never attempt to remove the card or the battery while the light is on.

If you’ve taken a large burst of images and your memory card isn’t particularly fast, you’ll notice the light on while the camera’s buffer writes the data to the card. If this process is interrupted you stand a very good chance of corrupting not only the images the camera is currently writing, but the entire contents of the card! The same principle applies if you remove the battery during the same process.

Nikon cameras have a green lamp

Canon cameras have a red lamp

Yes, there is software available that can access corrupt data, but it’s not a 100% guaranteed operation.

It’s perfectly safe to turn the camera off while the light is on; the camera’s power will actually stay on until the writing process is complete so there’s no danger of losing anything, just don’t get carried away and pop the card out early or remove the battery.

Portrait and commercial photographer Holly Wren tests the Profoto B2

Jonny Helm Review September 8, 2017October 11, 2023 0 Comments

A Case for the Profoto B2

Portrait and commercial photographer Holly Wren tests the Profoto B2.

I should start this review by saying that, B2 or B1X, I’m a huge Profoto fan, and the launch of the B1’s back in 2014 literally changed my life. I exaggerate, but you see my point. So when the B2’s launched a year later in 2015 it was hard to prise the B1’s out of my Profoto obsessed paws. I saw the B2’s as a lesser B1, perhaps a cheaper, inferior B1 with less power (250w as opposed to 500w).

Maybe I didn’t like the battery pack, or the wires, or most importantly the stupid on-camera holder thingy that featured heavily in the launch, but the fact is I was wrong. And here’s why.

Specification wise both the B1X and B2 perform with the same signature Profoto functions (with varying abilities on some of the below)

HSS (High Speed Sync), allowing you to shoot up to 1/8000 second and wide open in daylight.
“Freeze” mode, meaning you can freeze action down at shutter speeds as little as 1/200 second (the function uses flash duration as opposed to shutter speed to stop motion).
Wireless triggers that function with TTL (for Nikon, Canon, Olympus and Sony).
Compatibility with Profoto’s range of light shaping tools (or modifiers) meaning we can soften and harden the light in over 120 ways.
Easy to use interface (you probably won’t even need an instruction manual to get going).
And of course, the beautiful and consistent light.

That’s all impressive stuff, and chances are if you are looking to buy a B2 or indeed a B1X these are the compelling reasons to do so. So why choose the B2?

Putting power aside for a second (and that may be the deal breaker for you) the B2 actually gives you the functions of the B1X but with extras. Not specification extras, like, and I’ll say it again, power. But extras that just make these lights a little more user friendly than it’s big brother the B1X.

You see, Profoto are pretty good at location lighting, okay, they’re excellent at it and the B1X is certainly a light to be reckoned with, but my problem with it is, is it truly portable? Like, would I carry it on my back with my camera gear across London portable? And the answer is no. Which is where the B2 wins my heart with its size and portability.

The B2 actually does what it claims to – it’s a portable studio flash. It’s lightweight (just 1.7kg for the battery pack and 0.7kg for the head, as opposed to 3kg of the B1X unit), and it fits in my kit bag alongside my cameras and lenses, meaning that the only extra to carry is a modifier or two, and a stand.

I can take it places without an assistant or a car and the battery pack allows me to plug two heads in, offering me the flexibility of a multiple light set up with very little extra weight or bulk. It’s the kind of light you can take with you “in case” you want or need to use flash, for the times when you don’t know exactly what your location or client has in store.

One could argue also that the head being much smaller and lighter than the B1X makes it easier to handle by an assistant as the weight on the end of the stand is less, given the majority of the weight is in the battery pack, which can be placed on the floor, carried over the shoulder or on a belt (has anyone actually ever done that?!)

The lighter head also means if you’re going solo you can use a more lightweight stand (depending on your modifier) saving yet more trips to the chiropractor. And with modifiers such as grids and the 2′ octa being lightweight and small there is very little needed to create a successful basic set up.

However, the B2 isn’t perfect; it’s battery life isn’t comparable to that of the new B1X. Officially the stats are up to 215 full power flashes which is the equivalent of just over 600 on the B1X. In the real world, in my experience, shooting at around half to full power, with the modeling light on, you’ll probably get an hour or so out of a battery out of the B2, before you need to change it. That said, carrying a spare is essential anyway and charging is quick, at just under an hour, making the battery life a slight inconvenience but not a deal breaker. I should note here how irritating the battery is to change; it’s a faff, not the actual battery, which is easy, but the holding case, which sits a little too snug.

And although the wires aren’t too much of an issue, they do lack length if you want a head raised high up on a stand, so you’ll probably need to buy an extension lead, especially for getting that second light in position.

So, the only real question that remains is power – the B1X at 500w doubles that of the B2 at 250w and so if power really is your requirement, the case for the B2 is redundant.

Although a point worth making here is that although the B1X has double the power, it only equates to around 1 additional stop of light. Technically if you’re prepared to open up, you can deliver almost identical results.

So the question remains, how much power do you need? For me, I hardly ever use the B2’s at full power so they are more than sufficient.

If you want beautiful light, easy handling, portability and multiple heads that can both infill ambient light and overpower the sun, the B2s might just be the light for you. But as with all camera gear, you need to work out how and what you’re shooting before you can decide which product suits your needs best. Which is why it’s especially handy that you can hire before you buy or just rent on demand.

Give the B2’s a go, I promise you won’t regret it.

Examples

In the shots below I worked alone to photograph Ayo, on a one light set up, with only the 2’ OCF beauty dish as a modifier, to show what’s possible with minimal kit.

Shot using the B2 to mimic and infill the natural light coming through the window as shown on the left. Using the OCF Beauty dish, the flash blends with natural light.

Nikon D810 | 50mm ƒ/1.4, 1/160 sec, ƒ/4, ISO 400, B2 Power 3.2

Shot using the B2 to create a look of harder light falling onto the image from the right, making the room look darker and creating a higher contrast. Using an OCF Beauty dish and white reflector behind subject.

Nikon D810 | 50mm ƒ/1.4, 1/200 sec, ƒ/5, ISO 640, B2 Power 6.0

Shot using a bare head that was positioned on top of the piano close to the subject, with a white reflector behind. Flash is used to create a low key, high contrast image; back black wall is eliminated to focus on Ayo at the Piano.

Nikon D810 | 50mm ƒ/1.4, 1/160 sec, ƒ/9, ISO 1250, B2 Power 2.2

Shot using the B2 on its modelling light to illuminate Ayo’s face and give the feeling it’s being lit by the candles on the piano. Natural light used to highlight the arm. B2 placed on piano behind vase. Reflector in front to reflect the natural light back into the image.

Nikon D810 | 50mm ƒ/1.4, 1/125 sec, ƒ/3.2, ISO 1250, B2 modelling light

To try the Profoto battery lighting, contact our rental department and take advantage of our special weekend rate.

To see more of Holly’s work, visit her website www.hollywren.com

Jonny Helm Feature September 7, 2017October 6, 2023 0 Comments

London Theatres | Peter Dazeley

“Did you know that Apple have over 800 people working on the iPhone’s camera alone?” says Peter Dazeley as I arrive at his Chelsea studio complex to discuss his latest work.

I admit that I didn’t as he continues, “And at the same time, Kodak have just launched a smartphone! They could have been the new Apple if they’d have pulled their finger out years ago!”

I’m meeting Dazeley to discuss the launch of his new book, London Theatres, and to see what he’s been up to since we last spoke.

After being awarded the British Empire Medal in the 2017 New Year’s Honours list for services to photography and charity, you might expect him to cut down his workload and reflect on his remarkable career to date as a fine art and advertising photographer. But no – he’s as busy as ever, having spent the last few months putting the finishing touches on the book, alongside a busy shooting schedule for Getty.

I was lucky enough to flick through an advanced copy of the book, a beautifully presented piece written by leading theatre critic Michael Coveney with all photographs courtesy of Dazeley and an inspiring foreword by the Oscar winning Mark Rylance.

London Theatres neatly completes a natural trilogy alongside his previous works Unseen London (2014) and London Uncovered (2016). The book invites the reader on a tour of forty-six London theatres, with stories of the architecture, the staging and the productions that have defined each one.

How do you approach a project like this? Was the book your idea?

No, the first two books were my ideas that I took to a publisher. In fact the first book (Unseen London), I originally envisaged purely as a book of photographs but the publisher felt it needed a narrative, and actually the writer did a fantastic job and brought the book to life. It was very successful, but there was a bit of a reaction because many of the places featured were inaccessible to the public, so I hit on the idea of the second book (London Uncovered), which featured readily accessible places. We also made a point of featuring information about each place in the book – website addresses, opening hours, etc.

The idea for London Theatres actually came from the sales team at the publishers. There was a book on theatres years ago and they were keen to produce an updated version. I managed to get hold of a copy of this old book and I felt I could shoot these theatres and do them justice, so I signed up to do the book and the publishers approached Michael Coveney, a long-time theatre reviewer, who did a wonderful job on the text.

The nice thing about it for me was that for the first two books I’d already photographed maybe half a dozen theatres, and while shooting these, the staff had a lot of recommendations as to other theatres that would be great to feature, and it snowballed from there. A few places weren’t that keen initially, but once we’d explained the concept to them and shown them the work so far, they were quickly on board.

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One of the most amazing things about the book was getting Sir Mark Rylance to write the foreword. I’d have been grateful for two paragraphs, but he’s written about 1500 beautiful words about the interaction between the artist and the space, the audience and the theatre. He’s obviously very passionate about theatre and I’m so pleased he set aside the time to write it; he must be one of the busiest actors we have these days.

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It’s nice to see a lot of behind the scenes shots too, rather than just the auditoriums.

Yes, it was a very conscious decision not to produce a book of photographs showing endless red seats. I’m a lover of the theatre, but I think most people will go and see a show without really taking into account what the actual place looks like. Every time I visited a location I tried to have an open mind, to see what I could find that was different or unusual. Sometimes it was tricky; most of the theatres were busy with rehearsals during the day but I was able to get in very early in the morning and get the shots I needed.

Part of trying to keep the individuality of the theatres meant photographing above the stage, below stage, backstage, dressing rooms, fly floors; anything I could find that was different.

How long did the project take to shoot?

I guess about 9 months in total, shooting on and off when I was able to get access to the locations. Sometimes I’d shoot 2 or 3 in quick succession and then nothing for a few weeks.

What equipment did you shoot with?

My camera of choice for this kind of work has been my trusty Nikon D810 which I absolutely love. Some of the locations were very poorly lit but I was able to shoot up to 30s exposures with no problems whatsoever. The way it deals with mixed lighting is also very impressive. When I think back to my days of shooting film, a project like this would have been a nightmare!

One thing that strikes me is your attention to detail, especially in the symmetry of some of the shots.

(Laughs), I try and shoot with spirit levels as often as possible, but in those situations that I can’t, I know that I can make small corrections in post-production. I still find it incredible the way you can pull apart a RAW file from the D810 and put it back together without losing anything.

There must have been some particularly memorable locations you visited?

(Flicking through the book), to be honest I enjoyed them all for different reasons. Take this one for example (Wilton’s Music Hall) – places like this shouldn’t exist any more but I’m extremely glad it does. It’s been restored, but very sympathetically and they’ve kept lots of the original brickwork. It’s still a working theatre and still giving people a lot of pleasure.

St. Martin’s Theatre too, probably one of my favourite theatres in London; such a beautiful building. My publisher was keen to show some exterior shots of some of the locations, something I wasn’t particularly keen on, but on this occasion, I was actually going to the theatre one evening with my daughter and had the foresight to take my camera and tripod along. I’m rather pleased I did! Here’s another interesting one, the New Wimbledon Theatre; they had to remove the globe from the top of it during WW2 because the Luftwaffe were aiming for it to find their way into London!

London Theatres is available now from all good bookshops and can be found online here

To see more of Dazeley’s work, visit his website www.peterdazeley.com

Dazeley was speaking to Tim Stavrinou.

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