August, 2017 | Fixation

Fixation Team | Canon Technicians (Part 2) image

Jonny Helm Feature August 7, 2017February 7, 2024 1 Comment

Fixation Team | Canon Technicians (Part 1)

Our Canon technicians are a talented bunch of rascals, hidden away in our Kennington workshop, feverishly fixing any body, lens or speedlite that comes their way. In this first part of a series we meet some of the guys responsible for keeping your Canon gear in top working order.

Mick

For the low-down on Mick’s history at Fixation we need to go back a few short years to 1982 when Mick was a teenager working for KJP. It was here he met Mike Allen and when Mike decided to start his own repair company, he took little Mick along too. It certainly hasn’t been a short-term career as Mick has been with Fixation ever since and now manages the Canon, Profoto, Aquatech and Fuji repairs. Mick is known, in no small way, for his sense of humour. He has no shortage of low-brow jokes and tall tales, although not always appreciated by his long-suffering colleagues. Mick enjoys motorbikes, but his big passion is for Scuba-diving. He organises his own club and instructs too, certainly no small feat. Keeping things short, we’d finish by saying that what Mick lacks in height, he makes up for in personality. Hopefully this comment won’t go over his head, but most things do.

Giuseppe

Giuseppe “Jo” Cirello’s career started in his hometown of Naples in 1991, where his jobs included the repair of audio equipment and installing Fujifilm Minilabs. In 1993 he joined Camera Service Italia, Canon’s authorised CPS repair agent in Naples and during his time there advanced to Technical Manager and was responsible for repair output and customer service.

The economic downturn left him looking for pastures new and he and his family uprooted to London and a new start at Fixation in February 2013. Jo continues to repair Canon pro kit and is also our chief repairer of Profoto kit.

David

When David originally joined Fixation in March 1998, it was as temporary help for the Admin team, of which his sister was a part at the time. But when an opportunity to train as a technician arose, David made the move to the workshop and received training from both Barry and Mick. During the period that Fixation was official repairer of Kodak’s DCS pro range, David was the primary technician involved, but now he specialises in the Canon 1D models. David considers himself a “real” Game of Thrones fan, by which he means he was an avid reader of the books long before the television series came along. A big sports fan, he enjoys playing pool and snooker, but his big love is for Liverpool FC and unsurprisingly he counts Bill Shankley among is heroes. At home he is often called upon to act as referee – by breaking up fights between Felix and Kitty, his two warring cats!

Stuart

Back in June 1995 Stuart was a directionless teenager not sure where he wanted life to take him. Then he came across a small ad in the Sit Vac section of his local paper inviting applications to join Fixation as a trainee technician. With a bit of a push from his dad he decided to apply and although he turned up for the interview late, very nervous and having to perform a soldering test that was completely new to him, the team obviously saw the talent in him and he’s been with us ever since. A fan of Brentford FC and a keen pool player, don’t be fooled by the gruff exterior – now the father of small girls, he has developed a penchant for the likes of Harry Potter and Disney’s Frozen on Ice and his favourite experience was swimming with dolphins in Mexico, so clearly he has a very soft centre!

Alfie

Gaming fan Alfie joined our Canon workshop in October 2016 as Assistant Spares Co-ordinator and trainee technician. As part of a full training programme expected to last 3 years, Alfie currently repairs mainly EF-S lenses; but with 4 years’ experience as an apprentice electrician under his belt, he is also the perfect fit to safely take on some of our higher voltage Profoto repairs and has undertaken additional training in Sweden for this purpose. A regular traveller and particular fan of the US, Alfie is also a keen sportsman with rugby and judo recently giving way to rock climbing as his favourite pursuit. He also has a sensitive side – he enjoys carving wood and has produced objects ranging from spoon to tables and he counts Bailey, his labradoodle, among his best friends.

We’ll be featuring the remainder of the Canon team soon, but in the meantime, you can read all about our Nikon technicians here.

Fixation Team | Nikon Technicians (Part 2) image

Jonny Helm Feature August 2, 2017February 7, 2024 0 Comments

Fixation Team | Nikon Technicians (Part 1)

Our Nikon technicians are a dedicated team of specialists and can turn their hands to almost any repairs on bodies, lenses and speedlights.

Yusuf

Yusuf’s interest in computers and electronics began at an early age and he unofficially ran his school’s IT department. He completed his degree in Computer Aided Design in 1996 and became a Field Engineer, later QA engineer, for Bromcom computers. In 1999 he joined Motorola GSM Systems as a De-bug Engineer and in 2001 joined Alcatel Submarine Networks, working on their under-water fibre-optics. He joined Fixation in 2002 and until 2016 performed our IT support as well as carrying out repairs. These days he repairs Nikon film scanners and Quantum products, as well as Nikon’s mid-range and semi-pro bodies and lenses. In keeps his hand in with computers by volunteering as IT Consultant at his local library. Yusuf has a reputation within Fixation for enjoying his food, although his diet is going well. He’s a fan of Stephen Hawking, whose theories he finds fascinating and his guilty pleasure is any film starring Arnold Schwarzenegger.

Noz

Chocoholic Noz joined Fixation as a trainee in March 2002 and the first camera he ever repaired was a Nikon FM2. Two years later he had progressed to repairing Pro digital products like the D1 and D2 series and he remains the go-to technician for Nikon’s flagship cameras like the D4 and D5. He rivals Melanie as a contender for Fixation’s loudest sneezer (please guys, it’s NOT a competition!) and as well watching his beloved Arsenal, he enjoys F1, running and cycling. In fact, he has completed the annual London to Brighton 55 mile bike ride three times with a pretty impressive PB of 2 hours 43 minutes. It’s certainly one way to burn off all that chocolate.

Chris

Chelsea fan Chris was originally employed by Melanie in 2002 when she supervised the Customer Support team at Nikon UK. But having always had an interest in how things work, when an opportunity came up to join Nikon’s workshop as a trainee in 2005, Chris swapped the telephone for screwdrivers and soldering irons and hasn’t looked back. He joined Fixation in May 2012 and continues to repair Nikon pro and semi-pro cameras and lenses. Chris has a strong interest in history, particularly the engineering feats of the industrial revolution. But if you want to chill with Chris, don’t suggest a night in watching Game of Thrones – he’s very resolutely not a fan!

Joy

When Joy left college in 1982 she knew that pen-pushing was not for her and was determined to find a manual or technical career that suited her. A visit to The Job Centre introduced her to the Government’s Youth Opportunities Program, specifically a chance to train as a technician at Luton camera Repairs where she remained for years repairing multiple major brands.

She joined Fixation in November 2011 and specialises in the repair of Nikon lenses. As well as being dextrous, she’s green-fingered, plays tennis and keeps chickens. She currently has two named Ginger and Sooty, both apparently eggcellent layers!

Jonny Helm Tips & Tricks August 2, 2017October 6, 2023 5 Comments

Tips & Tricks | Keep a close eye on your Nikkor lenses

Here’s a useful tip for Nikon users: You see this screw? This 2mm screw that can be found tucked on the side of the bayonet on all Nikkor lenses? Well, if it falls off it can cause a lot of expensive damage!

It’s designed to stop the lens from over-turning when it’s being attached to the camera, and occasionally these screws have a tendency to work loose and fall out.

A Nikkor 50mm ƒ/1.4G with the screw missing

Its actual role is to physically stop the lens from being rotated too far when being mounted. If this happens, you’ll invariably feel a horrible grinding and the aperture coupling lever will become distorted. And of course, when you realise your mistake, the lever will get bent a second time as you attempt to remove the lens. A bent lever have an adverse effect on the camera’s ability to stop the lens down correctly at the time of exposure and can also cause any other lenses to jam as you attempt to attach them.

A D7100 with a bent lever. In normal conditions, the end of the lever would be straight

Correct lens mounting

Aside from checking your lenses regularly to see if the screw is still present, another way to avoid damaging the control lever is to actually mount the lenses in the correct manner: there is no need to depress the lens release button when mounting a lens; it only needs to be depressed when removing a lens. Even if the stop screw has fallen off your lens, it is impossible to over turn the lens as it will lock into place via the release button pin. You’ll hear a click when the lens has mounted. However, the number of damaged cameras we see arriving at our workshop suggest that there are many Nikon users out there who insist on incorrectly depressing the button when mounting a lens. Just don’t!

The correct way to mount a NIkkor lens WITHOUT depressing the release lever

You’re asking for trouble if you mount your lenses this way!

Repairing a bent lever

In some cases our technicians can gently bend the lever back into shape, but they’re made of an alloy and will weaken considerably if they’re pulled around too much. In the majority of cases, the lever mechanism will need replacing and it’s quite an involved job. It’s mounted to the side of the mirror box and the camera has to be stripped down. And even though the lever is a small part, it is attached to a much larger mechanism that needs to be replaced in its entirety.

The replacement lever mechanism from a D800

It can cost upwards of £250 to replace the parts, so take a couple of minutes every month to check your lenses and keep your finger off that button!

Jon Stapley Feature August 1, 2017October 6, 2023

Behind the Scenes | Naturally Country

Travel and editorial photographer Lauren MacNeish discovers small-town USA

Flying over the Grand Tetons, as the small plane began to land, was one of the most beautiful views I had ever seen. Later, I’d realise that this was only the beginning of a week filled with sights I’d only ever seen in photographs before.

On August 5^th 2016. I began my journey to Jackson, Wyoming from Edinburgh airport, a mere 4,500 miles away. Boarding the first flight of three, I was filled with sheer excitement.

I had only ever seen this part of America in photographs and in movies. It’s a difficult place to imagine for a small-town Scottish girl. I guess it’s a bit like trying to explain the Scottish Highlands to someone who has spent their days in NYC. I was travelling 4500 miles, but I was going to be a world away from home.

Let me paint you a picture: arriving in Jackson Hole airport. Now when I say ‘airport’, we think Edinburgh or Heathrow, with their never-ending corridors, gates, terminals, people…! But nope, none of this at Jackson Hole. Think log cabin, but on a slightly bigger scale, seated in the shadows of the Grand Tetons. The airport itself is an attraction for someone like me.

I approached the town of Jackson Hole and I was in complete awe by this utterly parallel universe to my own. While stopped at traffic lights, a horse and carriage passed me by, followed by a guy in full cowboy attire crossing the road in front of me. Let me say, these are not sights you see in Edinburgh. Or Scotland for that matter. Or even the UK. I was overwhelmed with excitement at finally being in American country territory.

On this first day of arrival, I took a leisurely walk around the town square and watched as a country singing busker entertained a crowd – five bucks well spent. The tiredness was setting in and I was ready to lie down for the night but curiosity got the better of me as crowds began to form on the streets. The annual town shoot-out was getting underway and I knew I had to watch. When I say shoot-out, obviously I don’t mean a real one. It was actually quite enjoyable to watch, and I learned a lot of history about the town.

I spent the following day at T.A. Moulton Barn (America’s most photographed barn, apparently), which is nestled in the ‘gardens’ of the Grand Tetons. This is a tourist hot-spot and I had to wait patiently for this ‘person-free’ photograph. Ain’t got time for the clone stamp!

Bizarrely, although there were many tourists at the barn, there was a calm silence. I sort of felt like I was in the middle of nowhere – which, I guess, I kind of was.

In this digital age where we continually upload photographs on social media, it has become very easy to view photographs of some of the most magnificent sights the world has to offer. Sometimes, these photographs are so far from our realms of imagination that they become fairy tale-esque. We see these beautiful photographs and sometimes find it difficult to believe that these places really do exist. Seeing the reflections of the Grand Tetons at Schwabacher’s Landing was one of those places. I had often seen postcard-style photographs from this viewpoint, and I can’t tell you how surreal it was to physically be standing in that spot – I even look back at my own photograph and don’t think it looks real!

If you look at my landscape photography, you’ll see that I primarily focus on how light affects the shapes and textures of each scene. I am fascinated by the natural shapes that surround us, and the different textures of each landscape. I don’t use HDR or over-edit landscapes, because in a way I feel like I would be breaking some unwritten contract between photographer and Mother Nature. As a photographer, I want to take photographs of how the scenes make me feel – I want to feel connected to what I photograph, so it is important for me to stay true to the scene. I am fascinated by the natural world, and while I don’t necessarily take photographs that will look good hanging on walls, I try to take photographs that show the way light, shape and texture forever change the landscapes around us.

On one evening, just before sunset, storm clouds began to envelope the rough textures of the Grand Tetons. It was astonishing. I think the only editing I did to this photograph was reducing some shadows.

The otherworldly sights of Yellowstone are breathtaking. Watching the Old Faithful geyser erupt its hot-water in Yellowstone is one of those things I had only ever heard about – it was just amazing to witness.

Walking on the boardwalk that leads through Grand Prismatic Spring to view its colourful canvas was mind-blowing.

It’s difficult to provide a true representation of Yellowstone over such a short period of time. But, if something is to be learnt from here then it is that: nature is a force to be reckoned with and it is still very much bigger than all of us. Richard Feynman put it better when he said: “I think nature’s imagination is so much greater than man’s, she’s never going to let us relax.”

Besides any technicalities photography-wise, my biggest difficulty when photographing a place I’ve never been to before is to try to not always romanticize it. There were things in Jackson that I did not agree with, namely: the attitude to guns and the political ideas. However, it’s the nature I fell in love. And I think that if you find nature, then beauty is not far away. I guess we always have an objective to what we photograph. We can manipulate scenes to suit the story that we are trying to tell. I suppose that’s another unwritten contract; this time between photographer and viewer. I seek the stories I wish to tell, but I try to keep it real. Photography is one of the greatest sources of expression, so a lot of what I photograph is dependent on my feeling at the time. Sometimes the ‘romanticised’ photographs are taken because that’s exactly how the scene made me feel or that’s the mood that I was in. If the ‘cons’ to a place outweighed the ‘pros’, then it would be a completely different gallery of photographs to view.

So what are these photographs? Snapshots of a trip? A depiction of a place? Romanticised landscapes? I would say, all of the above and then some.

This trip was truly incredible and if there’s one thing I am learning, it’s that: when I visit places that are so different to where I call ‘home’; my mind changes. And that’s changing everything.

You can view more of my images from this trip on my SmugMug site: laurenmacneish.com

Lauren MacNeish is an editorial photographer with a passion for travel. You can visit her website at laurenmacneish.com

Jon Stapley Feature August 1, 2017October 6, 2023

Behind the Scenes | An Arctic Adventure

James Morgan tells us about a recent photographic assignment that had him braving the bitter cold on the Arctic Ocean.

You can’t always tell when an assignment will turn into an adventure but my latest brief had all the right ingredients. I was set to be joining an Arctic research ship on a trip around Svalbard.

When the first day of my shoot arrives, we set off from Longyerbyen, heading north. The ship we’re on is an old prawn trawler, but it’s been kitted out for science. The landscape is incredible, I stay on deck until I can’t take the cold any more, then I go inside until I can’t take the sea sickness.

The purpose of the trip is to conduct research trawls and sampling to monitor how climate change is affecting fisheries ecosystems. With ice retreating and the potential for new fishing grounds moving further north, the Norwegian government are keen to inform their policies with as much hard science as possible.

A few days later we arrive at Ny Alesund. With claims to be the most northerly settlement on the planet, Ny Alesund was established originally as a whaling station, then later a coal mining town. It’s now an international research centre run by the Norwegian Polar Institute. A lot of the world’s leading climate scientists do stints up here.

This is the view out of the canteen window:

Across the bay a network of glaciers are slowly melting. The next morning we head out by rib to get a closer look. On the way we pass an iceberg the size of a small house and as cyan blue as a chewing gum advert. Travelling over mirror flat ocean, there’s a strange optical illusion; the glacier seems to retreat further and further away until about a kilometre out where the size of it suddenly becomes apparent.

We arrive just in time to see a large shelving take place. This is where the glacier collapses into the ocean, sending waves for miles out across the fjord. It’s become the de facto image for climate change (along with the one of the polar bear stranded on the iceberg).

That afternoon we fly over the glacier to get a full sense of its size and, comparing with old data maps, the full extent of its retreat.

Later that night, the coastguard pick us up for a demonstration of how they’re policing these waters. We get in the ribs and head out to sea. We pull up alongside a navy ship, a hook is winched down from above, attached to the rib and we shoot fifty feet out of the water up to deck level.

The bridge is dark and shady figures hang around consoles. The entire ship is run off LNG as opposed to diesel and so the ocean outside glides by in an eerie silence. It feels like the future. We get a quick briefing and then we’re taken below deck to put on orange survival suits and helmets for the operation.

Then we’re back in the ribs, winched back into the ocean and blasting across the night time sea to run an inspection of a shrimp trawler. There’s no winch this end to lift the rib out of the water, instead a rope ladder is hung down. The fisheries inspectors get off first. I pack my camera into a Peli case and walk to the front of the boat. The rib pulls up alongside the trawler and I’m told to ‘commit’. I grab the ladder as the swell lifts the rib up to the ladder. The rib backs away and I’m left clinging to the ladder, the Arctic Ocean churning beneath me and a long climb up the side of the trawler.

On board, the trawler crew are bringing up the net. The fisheries inspectors tell me that the trawl would equate to about £500 for every member of crew. They’ve done four that size today. They make good money but I don’t envy them – when the excitement wears off the sea sickness will be back. And winter is coming….

You can see more of James Morgan’s work from Svalbard on his website

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Monthly Archives: August 2017