Tag: doug chinnery

First thoughts on the Canon EOS R and Multiple Exposure Photography

Posted on October 28, 2018 by - Gear Reviews, News, Photography comment, Photography Tips

I had the chance this week to briefly test the brand new Canon EOS R mirrorless camera with the 24-105mm lens (and the EF adaptor along with my EF 70-300mm IS L lens). This was courtesy of my good friend Carl, who had pre-ordered the camera and was prepared to entrust it to me.

My reasons for wanting to try it revolved around the weight saving of a mirrorless body and the advantages of having an electronic viewfinder for multiple exposure photography (EVF). I have been, in the past an advocate of the Fuji mirrorless systems – both the X and GFX medium format body – loving the weight saving and EVF as well as the image quality. However, the lack of a serious multiple exposure mode coupled with having to carry two systems in order to have a proper ME system meant I recently abandoned Fuji for good and dedicated myself to Canon. As someone who travels a great deal I need one system that does all everything and so I currently use the superb 5D mk4 and only have one lens, the 70-300mm L.

Before I go further, some clarification. I am not sponsored by Canon. This review is entirely impartial. I will aim to tell it exactly as it is. It is based on just a couple of hours at most with the camera, using the 24-105mm R lens and barely 15 minutes with my 70-300mm lens and the EF adaptor. All of this time I was working in multiple exposure mode, so please don’t expect a review of using the camera for classic photography.

I would also add that I am not interested in this camera for shooting video. I may shoot some, but I am an art photographer and this review is written from that perspective. I am sure other reviews will guide you if you have interests in serious video work.

My final plea concerned the images – I was working quickly and just experimenting around my home – they aren’t meant to be serious work, just samples of the camera in action. Please don’t be too hard on me!

I am also aware of the near apoplectic rage there seems to be that the camera only has one SD card slot. My feelings about this? Yes, I would have liked two card slots (both SD, for me please Canon). But I do think we need some perspective. Yes, two slots has become the norm in cameras of this quality and I am sure the next iteration of this body will have them. If it is that big an issue for you I would just suggest waiting. However, in my experience, most photographers don’t know how their second slot is utilised – whether it is having a backup copy written to it, or if one card fills and then the second card fills – or if one card has raw files writing to it and the second has jpegs writing to it. Many cameras I have seen clients using don’t even have a card in the second slot. I have been using digital cameras for, I don’t know, 12 or 14 years and I have only had a card totally fail once in all that time. Once. I buy quality cards and I push my cameras hard in all weathers – I don’t wrap them in cotton wool (or polythene). Its not so long ago all cameras only had one card and prior to that, one roll of film. We managed somehow. My feeling is that the outrage is just a little over done – and I know that me just saying this will outrage some people. But I am just being honest (but please Canon – get another card slot in ASAP, I am pretty certain your design guys can make one fit).

Now that is death with let us get down to the nitty gritty. My first impressions about the camera. The build quality is excellent, as you would expect from Canon. I have big hands but ergonomically it is very comfortable in the hand. The balance is good and I liked the shaped grip. I work with one hand a lot of the time and this suited me well. I was surprised at how light it felt, even with the quality lens fitted. The EF adaptor is ridiculously light – this is because it is, in effect, just an extension tube. There is no glass in it. It just moves the EF lenses further away from the sensor and links up the electronics. So all of the lens functions still work as normal and everything still works in the EVF – you notice no difference in operating the camera. Even with a big lens like the 70-300mm attached it felt well balanced and lighter, obviously, than my 5D mk4. The weight saving is not huge but it is noticeable but it is also physically smaller so when travelling it takes up less bag space and it is less obtrusive in the hand, attracting less attention. Yes, using your L EF glass brings the weight right up, but you have the quality of the glass and it will be lighter than your DSLR. For some of you the weight saving while using your DSLR lenses will not be enough – but the R lenses are L glass quality and lighter. Canon will widen the range quite rapidly. I am happy to use the 24-105 for now along with my L 70-300 and the adaptor and cope with the weight – while benefitting from the physical size decrease (and it is lighter – noticeably so) while I wait for a lighter 70-300 R lens to be released.You will need to decide for yourself what you can cope with.

The 24-105mm lens was superb – the optics were brilliant as you would expect from Canon L glass. The image stabilisation was faultless as was the auto focus. Don’t ask me about frames per second and whether this would be a good camera for shooting wildlife on the Serengeti – that is above my pay grade. I am sure other blogs will help you with those questions.

What does the EOS R have to offer us as respects multiple exposure modes? This was a question we were really interested in. The answer is, it has all of the modes and functions of the 5D mk’s 3 and 4 (and other fully featured Canon DSLR’s). You will not lose anything by switching. But will you gain anything? The answer, I feel, is ‘yes’, which is why I would like to move to the ‘R’ myself.

Firstly, I want the size and weight saving. I am a traveller and I am always looking for savings in this area as long as functionality is not compromised. The EOS R gives me this. It has the same 30mp sensor as my current 5D mk4 so image quality is identical. I am guessing the next iteration of the body will have an ‘improved’ sensor but with this I give a warning. Valda had the 5Dr for some time which has the amazing 50mp sensor. Now, while this produces eye watering quality and huge files it brings with it a big issue to multiple exposure photographers. It becomes painfully slow. Stacking up several 50mp files and blending them in camera takes huge processing power and time. Valda found this really slowed her down in the field and, to an extent stifled her creativity so she switched ‘down’ to the 5D mk4 and is happier as a result. You may not find this to be an issue but we certainly did – so unless new bodies have significantly more processing power and speed, we would be reluctant to move to them. We have never had an issue as professionals with the 30mp files with our clients and galleries. The 30mp files for us still allow image cropping and manipulation to meet our needs. You need to decide what your needs are.

The second, and for me game changing improvement for multiple exposure work with the EOS R, is the EVF. This allows you to see the image ‘shadowed’ as you make each frame. You can’t see the effect of the blend mode being applied before you fire the shutter (but you do see, in the EVF the blended image after the next frame is added) however the big advantage is being able to line objects up. This helps hugely with composition. The next frame you see shadowed in the EVF is ‘brighter’ and so you need to look closely but it is sufficient to do what you need to do. The EVF also works seamlessly, I was not conscious it was an EVF, to be honest, it didn’t interfere it only assisted me. I like to have the camera to my eye when making ME images and previously I had to visualise in my mind where objects would be. You could use the live view screen, but this slowed the process down and meant holding the camera away at arms length which I found didn’t suit my way of working. I was blown away by the difference using the EVF made to my workflow. I am now finding using my 5D mk4 very frustrating indeed. I have opened Pandoras Box!

I have heard people expressing concerns about the controls on the camera – that there is only one control dial and so on. This is not the case. You have two control wheels so you can change aperture and shutter speed independently (or exposure compensation). The touch screen is a delight (but would be tricky with gloves in cold weather) However everything can be accessed through the quick menu and control buttons (no joystick on this camera) There is a slider bar which I didn’t have time to get to grips with.

The tilt screen also swivels – which would be a first for a camera I own. Exciting for me. Little things please me. I am also delighted to see Canon have used the same battery for the ‘R’ as used in the 5D range. This means all of the spare batteries I have acquired over the years will fit. How good to see a manufacturer doing this when so many use the release of a new model to change the battery shape in order to force us to buy more new batteries at exorbitant prices.

Another innovation which is interesting and useful is the addition of an extra ring on the R lenses. This ring can be programmed in a menu so that you can use it to change shutter speed, ISO or aperture – whichever is most useful to you. I didn’t get time to check, but it wouldn’t surprise me if you could program it to change something else too, if you prefer, like white balance etc. This may be very handy for working in cold weather or to save you accessing a menu for something you alter frequently.

My final comment is about the another adaptor Canon has issued. It is a very clever piece of kit, sitting between the body and lens into which you can drop either a polariser or a variety-ND filter so that these do not have to be fitted to the front of the lens. For me, this is a revelation. It is such a simple solution, so small and compact and will allow me to do ICM images with such ease. The ND filter goes from 2 to 9 stops – which is absolutely perfect for me. A stroke of genius from Canon and one I will definitely be adding to my kit bag.

So my verdict. For multiple exposure and ICM shooters, I think this camera is a game changer. I see no reason to stay with a DSLR any more. You can keep all of your EF lenses and slowly replace them if you with with R lenses – or not – the choice is yours. I see no real deal breaking disadvantages with the camera. I think if you have any other brand of mirrorless camera such as Fuji and you have a passion for multiple exposure photography, I would seriously consider switching. It is a big thing to do, but I don’t think you will be disappointed. This is a seriously good camera that for me and my work ticks all the boxes (just get a second card slot in the next one, please, Canon…. and maybe come up with some more, new, innovative blend modes that we can see being applied live in the viewfinder before we press the shutter – then you really do have something amazing).

Valda and I are running some one day workshops in November where every participant has a loan EOS R for the day courtesy of Canon UK – you can read full details and BOOK HERE

New Exhibition of My Work

Posted on August 8, 2012 by - News, Photography Business, Social Networking

Dark Light

New Exhibition - "Dark Light"

 

I have been to Gainsborough today to hang my new solo exhibition entitled, “Dark Light”

It is being hosted at the Trinity Arts Centre in Gainsborough and is an exhibition of monochrome photographs. The Arts Centre is a council run location dedicated to the promotion of the arts in North Lincolnshire. The gallery space doubles as a mingling and bar area outside the main theatre and so is ideally placed for people visiting for performances to browse the images. If you happen to live in or near Gainsborough I would love you to pop in and take a look, but please don’t make a special journey.

The exhibition consists of 16 images (it was planned for 22, but the gallery didn’t have enough hanging clips to put all of the images up, requiring an on the spot rejigging of my hanging plan – the joys of exhibiting!). Here are a few iPhone images from the venue to give you a feel for what it is like.

Trinity Arts Centre Gallery

Main Wall

Side Wall

The Curved Wall

Here is a quick montage of some of the images on display

Montage 1

Montage 2

 

If you would like to go and see the exhibition, the gallery is free of charge. Opening times are;

Monday – Closed

Tuesday – Closed

Wednesday – 10.30 – 3.30

Thursday – 10.30 – 3.30

Friday 10.30 – 3.30

Saturday – 9.30 – 2.30

Sunday – Closed

The gallery is also open for performances – see the Trinity Arts Centre web site or Facebook page for details.

The address is

Trinity Arts Centre

Trinity Street

Gainsborough

DN21 2AL

(There is a car park (free) at the back of the centre but its a bit tricky to find. Drive past the centre on your right and go a few more yards to the roundabout where the big Tescos is and turn right. The road bends around to the right as you go around the corner you will see a row of terraced houses ahead on your right. Immediately after them is the entrance to the car park).

If you ever get the chance to hold your own exhibition, what do you need to know?

The first thing is, don’t expect to make a lot of money from sales. Its a sad fact in the UK that most people don’t value photography as art and as a result are very reluctant to put their hands in their pockets to buy images. If you have tried selling prints from your website you have perhaps realised this. True, some do make a good amount of money from print sales but this is usually because they are a big name and their images are of the very finest available or their name alone makes the images collectable. In fact, expect to make a loss if you hold an exhibition. The costs to hold one are high. For a start, many galleries charge you a fee to exhibit, whether you sell or not. They also take a commission on any sales and this can be from 25% to 60% of the sale price. Now factor in your printing costs (whether home printed or outsourced), framing costs and your time getting it all printed and framed. You also have to make labels for each image (mounted on foamex board) as well as writing an artists statement, designing a poster and producing a price list. You have to drive to the venue and spend a few hours hanging the exhibition on your own, the gallery rarely help in this. Then drive home, perhaps drive back for an open evening (for which you provide drinks and nibbles) and drive home again. Then at the end of the exhibition drive back and take it all down and drive home again! You can see why it is difficult to make a true profit if you factor in all of the costs.

Before you exhibit you need to be clear about what the gallery provides and what they expect you to provide. Some of the better ones will provide the drinks and nibbles, for example. Most won’t. Many expect you to provide all of the packaging for any items sold. if people buy prints or framed prints you will probably be responsible for posting them to the buyers unless the buyer is willing to return to collect them.

You need to be clear on insurance. Some galleries provide a certain amount of insurance cover if works are stolen or damaged. Will this cover your work. If they don’t provide cover, you lose if anything happens to a picture or pictures.

Be clear with the gallery too, on what advertising they do for you. Do they have a website and will they use it to promote your exhibition? Do they use Twitter, Facebook etc. Do they have an emailing list and will they use it to mail their clientele? In reality, many galleries are poor at advertising on your behalf. They leave it all to you, so what is your ‘reach’ as regards advertising? Are you on social networking sites and if so are you suing them to promote the exhibition? Do you blog, use Twitter and have a mailing list? If not, who is going to know about the exhibition apart from your close friends? Do you have the gumption to ring the local newspaper and see if they will run a piece for you? Are you up for contacting the photography magazines to see if they will list your exhibition? This is all additional time you need to spend to make the exhibition a success while remembering you are still unlikely to sell any or many prints!

In smaller local exhibitions you are more likely to make sales if your images are of local scenes. Also seasonal scenes sell better, so if the bluebells are out bluebell images sell better, for example. More ‘arty’ and creative work has a lower chance of selling because it will appeal to a smaller audience, however will, perhaps, command a higher price.

This leads us to the age old question of what to charge. You can approach this one of two ways. Most people add up the cost of the paper, ink, frame and so on and then add a bit on top. This is called ‘cost plus’ pricing. If your frame, print etc costs you £25 and you charge £50 it sounds like a good 100% profit. But remember, the gallery will take a huge slice and you are unlikely to have factored in the true costs I have listed above. In reality, if you are charging any less than £100 or more you are making a crushing loss IN REALITY, whatever you are fooling yourself into thinking. The second method of pricing, is to view your work as art. This takes courage and also lessens your chances of selling anything! Here, you think less of the costs involved and place a figure on your work based on the fact you feel it has, and will increase in, value. You are thinking more like a painter or sculptor. So you may value prints at £250 or whatever. This is a brave photographer who takes this approach as sales become even further apart. Ask yourself, would you spend £100, £200 or more on a framed print from a photographer you have never heard of who is relatively low profile? No? Neither will they. Why? Because they think they can go to Ikea and get a very nice framed print for £20 and then when they redecorate they take it to a charity shop or car boot sale and buy another that fits with the new decor. The English do not value photographs as art in the way the Americans do.

So this all sounds very pessimistic. Why on earth exhibit? Good question. If you are in it just to make money, don’t. However, if you want to invest in your profile or want the world to see what you create and are prepared to take criticism as well as plaudits, it is a lovely thing to do. It does bring kudos and respect from fellow photographers. It is also a starting point. I am sure Charlie Waite, Joe Cornish & Michael Kenna went through these early loss making exhibitions. But because they were prepared to put themselves out there and make the investment in time and money gradually, and because they have real talent, they became more successful. Now Joe has his own, amazing, gallery (one of the few UK photographers who make a success of this) and images by photographers such as Charlie and Joe command good prices and have become collectable in their own right – they have broken the glass ceiling so it can be done. One day someone who runs a ‘better’ gallery may walk in and be impressed with your work and offer to represent you long term (this is the route Michael Kenna has taken – working with galleries for years who display and sell his images all year around as well as holding solo exhibitions on top of these). A publisher may see your work and ask you to do a book. A print manufacturer might be scouting for talent. If we don’t promote ourselves, even at a loss, we will never know. If we really want to make something of our images then we should view an exhibition as an investment in ourselves and go in with our eyes open. This saves us from disappointment.

I hope this helps you if you are considering exhibiting. I am not trying to dissuade you at all. I just want you to know what it is really like. If you accept this it can be a very fulfilling and positive experience and if we make some money too, so much the better.

And to finish, heres another image you can see at the exhibition.

Thinking of Winter

 

 

 

 

New Farm Harvest Workshop

Posted on September 6, 2011 by - Photography Workshops

Those who subscribe to my newsletter know that I have been trying to organise an unusual workshop on a farm, of the potato harvest. Well, I am pleased to announce it is now on.

The farmer and his wife have been really helpful and we have been able to put a plan together for a small group to photograph the potato harvest – hopefully with stunning evening light. Apparently gulls follow the tractor as the potatoes are lifted and so the whole scene should be very photogenic. There may also be opportunities for unusual incidental images of things like potato boxes in the barns and farm buildings and so on. It sounds like there will be two tractors working, one is driven by the farmer actually lifting the crop, the other driven by his wife will be transporting the potatoes from the fields to the farm buildings. I have all sorts of images in mind we can try and get.
They are kindly arranging parking as close to the harvest fields as possible to reduce walking but please note the ground will be muddy and uneven so wellies or boots are required and anyone with mobility issues needs to take this into consideration when booking.
It is vital we do not encroach on the harvest, get in the way of farm machinery or impede the work in any way. I imagine we will be working from the field margins most of the time. I will give advice later on lens choice and more information on how things will work to those who book. You are, as with all of my workshops, responsible to organise your own insurance if you feel it is necessary. Our individual health and safety is our own responsibility and booking is an acceptance of this fact.
I have offered to pay a fee to contribute to the farm for each person joining us on this unique workshop and this is included in your fee. No meals or refreshments are included in this workshop but apparently there is a pub just a mile away which does serve food and snacks so it may be feasible to adjourn at some point to go and refresh ourselves -or to enjoy something there before or after the workshop.
The date will be Monday 19th September. We will meet at the farm to start at 2.30pm. Sunset is at 19:09 so I assume we will be finished by 19:30. This should give plenty of time and the best light on the day to get some memorable and unusual images. The farm is located near Lincoln. I can’t guarantee the weather, of course, but September is often lovely for landscapes.
I haven’t visited the farm myself and don’t know how ‘photogenic’ it is so will be approaching this as I do a commercial shoot where I often have to arrive without seeing the location advance and work ‘on the hoof’. It might be useful for you to see how I approach working out the best shooting positions and so on without prior knowledge of the place – a skill all commercial photographers need. There are pylons on the farm (as there is in much of Nottinghamshire and Lincolnshires farmland) so some work in PS might be needed, unless you like pylons – I will be showing how to frame images and use lenses to reduce their inclusion in shots.
Please also note I will be using my camera on this workshop to make my own images so I will not be quite as focused as I am on most of my other workshops on giving instruction. I will, of course, be happy to help you with your image making and will give as much time as I can to helping you, especially early on in the session so that yo are ready for later on, but as the light gets to its best or if the photo opportunities are good I will be shooting myself too and I just want you to be aware of this. Those who are closest to me in the fields will have the best chance of getting lots of help. I am reflecting this in the price of the workshop which is lower than my usual fee.
Oh, and one other thing. The farm is just half a mile from where the Red Arrows are based and they do practise over the farm. So, while they probably won’t put in an appearance, there is always a chance the will – so you never know the photographic opportunites might be amazing!
This is a rare chance to shoot a harvest at close range and get some great images of real farm life. I am really looking forward to it. Places are limited to 10 and I was deluged with interest so it may be wise to book early to avoid disappointment. Half the places have now gone. The fee, including a contribution to the farm will be £39 per person. This will be payable in full on booking.
I would like to thank in advance Mr & Mrs Marris for their kindness, cooperation and help in making this workshop possible.
if you would like to book please use the ‘CONTACT ME’ form on the right and I will organise it for you and remember your booking will not be secured until your fee is received.