The 100 images selected for the BPPA Assignments 2021 exhibition cover some of the most seismic news stories from the past couple of years. The abrupt exit of Dominic Cummings’ – special advisor to Prime Minister Boris Johnson and architect of the Brexit campaign – was one of the biggest political stories of the year.
While rumours had been circling that Cummings was on his way out, no one knew precisely how or when. While it had been thought that Cummings would stay on until Christmas, an auspicious Friday 13th of November 2020 saw his abrupt exit from Downing Street carrying a box of personal effects. One of the press photographers there to capture the scene was Hollie Adams, whose atmospheric, street-lit shot would go on to earn a place in the BPPA Assignments 2021 exhibition.
As the exhibition prepares to open, we chatted to Hollie to get the story behind the shot…
Jon Stapley: Hi Hollie – congratulations on getting an image featured in Assignments 2021! How did it feel to find out?
Hollie Adams: It was great. I’ve not actually had a picture hung on a wall before, so I’m excited to see it. I’ve been down there helping out the last couple of days, and it’s exciting to see the exhibition all come together, and see all the work that people have managed to produce, even during a lockdown.
JS: So this particular image, can you talk us through the moment you captured it?
HA: There was a bit of mad panic. I had got a call early in the morning asking if I could get to Dominic Cummings’ house, but by the time I got there he’d already left. So I’d kind of started the day on the back foot, and I was thinking to myself, “I’ve gotta get him, I’ve gotta get him at some point.”
I was at Downing Street all day, waiting and waiting. I got another call saying, “You know, if you think nothing’s going to happen, you can probably head off.” But I thought I’d just give it a bit longer. Another photographer had already left. But then, out of nowhere, Dominic Cummings just walked out of the front door with a box.
It seemed very deliberate. We weren’t expecting it, because if he’d wanted to avoid us, he could have. Because I’d missed him earlier, I’d set up an off-camera flash to make sure I got the lighting right. It was in winter, so it was getting dark really early at that point. And when he started walking down the street, all the other photographers continued to shoot him, and I only had a camera with a long lens in my hand and my flash was off-camera. So I panicked, and I just thought, “Well, there’s available light in the street,” so I ran out into the street after him. And to my surprise, he stood there and hailed a cab. Obviously he was very aware of the photographers, and to me it seemed like a very deliberate move.
When I started getting messages from people, that’s when I knew. At the time I didn’t really know that I had got a great shot, but when people started messaging me, that’s when I knew I’d got something good.
JS: I guess you never really know for sure until an image gets out there into the world.
HA: In the moment, all you’re thinking about is making sure everything’s right, that the exposure’s right, trying to predict where people might go so that you’re in the right position. There’s a lot of luck too.
JS: How long have you been doing press photography?
HA: I’ve been in London for two years now, but I was on staff at a national newspaper in Australia, and I’d been there for five years. So I’ve been doing it for about seven years.
JS: That’s quite some time! Are there any skills you’ve learned that you think are particularly important?
HA: Working in London is really different to working in Australia, and working at a newspaper is quite different to working for a newswire. You spend a lot of time on the street. But you also become a lot faster by doing a lot of hard news, and technically you learn a lot more because it’s really competitive. There are so many photographers in London, and you’ve really got to be on your game because there’s a lot to compare your stuff to. If you don’t get a great picture, people are going to see what else has been shot that day.
JS: There’s a standard you have to hit.
HA: Definitely. I was shocked at the number of photographers when I came here; I couldn’t believe it.
JS: Do you have your next assignment lined up?
HA: I just work day to day. I don’t have a project on the go; I take it as it comes and go where the news goes.
Hollie Adams is on Instagram as @hollieradams. The BPPA Assignments 2021 exhibition runs at Bargehouse London, Oxo Tower Wharf, London SE1 9PH, from August 27th to September 5th.
Thinking of starting a YouTube channel, or sharing videos of your exploits on Facebook, Instagram or another social media platform? Then you’ll want to pick up one of the best cameras for vloggers.
Welcome back to our vlogging kit series, where we run through some of the best cameras and other equipment that’s out there for prospective vloggers right now.
You may or may not have been tempted by the idea of vlogging before, but even if you’ve never considered it, we’d definitely recommend giving it some thought. Vlogging tends to demand less production value than other types of video, and as a professional working in stills or video, you already have a wealth of material to vlog about with a built-in audience. What kind of kit are you using for your shoots – what do you like about it, what do you wish were better? How do you approach different kinds of shoots and subjects? People are interested in this stuff, and being able to connect with them through vlogs is a great way to open up new opportunities and even potential revenue streams.
Today we’re taking a look at the Sony ZV-E10. Designed for creative vloggers who aspire to an artistic look, without the hassle. The ZV-E10 shoots 4K video at up to 30fps, unfortunately it doesn’t offer a 4K/60p mode for those creative vloggers who like to slow down their footage for cut-scenes. Still, you do get some of Sony’s latest autofocus smarts, including Real-time Tracking and Real-time Eye AF. These allow it to track a person around the frame and automatically keep them in focus.
The ZV-E10 is an interchangeable-lens vlog camera with over 60 lenses to inspire self-expression. Wide-angle lens options allow you to capture more of the locations or the natural backdrop, and bring your viewers along with you in a shared experience whilst creating dynamic footage. A fixed focal length lens will allow you to create a smooth, natural background blur that lets the subject stand out. It’s also useful when you want a brighter image in a dimly lit setting. Whilst a macro lens can get you closer to your subject, allowing you to capture the small details at a bigger size than with normal lenses and show off every glorious detail. Use a telephoto lens, to shoot far-off objects, scenery or action with clear detail, whether you’re vlogging while travelling or just shooting everyday life. Zooming in and out can also add an extra dynamic element to your story.
Let’s dig into its feature-set and find out why it’s designed for vlogging…
You can choose the lens that matches your style
Sony’s has an extensive range of E-mount lenses to help bring your vlog to the next level with stunning and unique imagery. Incorporate background scenery into your script with a wide-angle lens, or make the subject grab the viewer’s attention by using a fixed focal length lens with an artfully blurred background. Move in closer with a macro lens or pull in distant scenes with a telephoto lens.
A large-format image sensor for professional-quality images
The ZV-E10’s impressive images are the result of the camera’s large APS-C sized image sensor. Compared to a smartphone camera, the image sensor of the ZV-E10 is bigger, allowing for beautiful, professional-looking images with high resolution and intricate detail.
Designed for easy selfie and vlog shoots
Weighing in at just 364 grams the ZV-E10 is ready to hit the road with you whenever you’re ready to vlog. The side-opening vari-angle LCD screen makes it easy to take selfies and check your framing, even when you’re shooting from high or low positions, and the ergonomic grip is designed for a safe and stable hold.
4K video
The camera’s internal 4K video recordings are made using a full-pixel readout from the sensor. This means that the recorded footage has more visual data condensed into every frame, resulting in remarkably detailed video imagery.
Real-time tracking can do the focusing work for you
The ZV-E10’s AI-driven13 Real-time Tracking is intuitive to use. Simply touch the monitor to indicate the subject you want to focus on and Real-time Tracking will take it from there, keeping a steady hold on the subject.
Background blur control
There’s no need for complicated manual adjustments – just press a single button to turn background blurring (bokeh) on and off. The button switches between a blurred, bokeh-rich background and a clearly focused one, skipping all the complex setting.
Designed for clear voice recording even outdoors
Equipped with a built-in Directional 3-Capsule Mic, the ZV-E10 records voices clearly even in crowded settings. It’s optimised to capture voices in front of the camera with fewer distracting ambient sounds, perfect for vlogging use. The ZV-E10 comes with a wind screen, allowing worry-free recording when shooting outside. The supplied wind screen can be easily attached to the Multi Interface to reduce noise in windy conditions.
Smooth and stable images even while walking
The ZV-E10 will help keep things smooth and steady when you’re on the move. Active Mode electronic image stabilisation delivers stable video footage with minimal shake and blur during hand-held recording, and it’s available even when the Product Showcase Setting is on.
Add special effects in-camera
You can switch up your colours to create a variety of artistic effects. Just change the Creative Style setting, or choose from seven different visual effects using Picture Effect mode, without any additional post-production.
Handle long shooting sessions without battery worries
When you’re shooting outdoors or anywhere without a power supply, you can rely on the camera’s battery to power up to 125 minutes of continuous movie shooting or up to 440 still images. The camera also supports external power through a USB Type-C connector, allowing an external mobile battery to further extend your recording time.
An ideal vlogging setup with the Sony ZV-E10
If you want to maximise the production value you get out of the Sony ZV-E10, then it’s worth thinking about the best accessories to use. It doesn’t have to be a massive outlay of cash – a few well-chosen accessories can make a massive difference in the quality of your videos, not to mention the ease of producing them, and luckily for you, we’ve picked out a ready-made list of the best ones around right now. While this list isn’t exhaustive, it also isn’t compulsory – even just a few of these will really see your vlogging improve.
So here’s what we reckon you should get:
– A good all-encompassing lens. You ideally don’t want to be faffing about changing lenses too often. We’d say something like the Sony 16-70mm f/4 will cover a solid focal range that should give you all the coverage you need for the vast majority of your vlogging.
– A good shotgun microphone. A no-brainer here for improving the sound quality of your videos – there’s a reason we recommend it in all of our vlogging blogs. A RØDE VideoMic will suit your purposes fantastically. For more audio control you can use the Sony XLR-K3M XLR adaptor kit, pictured above, with your choice of XLR microphone from shotgun mics to radio lavalier kits ideal for interviews.
– A fast, large-capacity SD card. You might be able to save some money here, as the ZV-E10 isn’t able to take advantage of UHS-II cards, a UHS-I SD card will do fine. Something from the SanDisk Extreme Pro range will suit you fine – the higher its capacity, the better.
– A stable tripod, ideally one with a head geared for video. Manfrotto, Vanguard, Camlink and Velbon all make great dedicated video tripods with smooth panning heads.
– Monitoring headphones to check your audio.
– A video light. Look at lights from Rotolight for a good self-contained system.
The Sony ZV-E10 isn’t perfect
The grip is way too small to use handheld with a big lens, as it’s too unwieldy to hold the lens while using the rear display to frame shots. We would recommend using a tripod, as well as for some long-exposure images. There’s no mode dial on the top; instead you’ll set the capture mode via the menu. You do get a shutter release at the top of the handgrip. The Sony ZV-E10 has a built-in electronic viewfinder for framing shots so if you need a camera with a viewfinder try the Sony A6100 or A6400. If you are looking for a run-and-gun video camera for quick pans then this might be the worst thing about the camera from a video point-of-view, and while it won’t affect many studio or static shooters, run-and-gun camera operators might not be ready for its jelly effect. The Sony ZV-E10’s 4K capture caps out at 25/30 fps, so if you want to slow down your footage without compromising on resolution, you’ll need to look elsewhere.
Dust spots on photos can lead to hours of extra editing. Sometimes there are motes of dust, oil spots, even fingerprints on a camera sensor. But how can you know before it’s too late?
Dust resting on your Mirrorless or DSLR cameras imaging sensor can show up as black spots or soft grey blobs on your images. Most frequently these UFOs (unidentified foreign objects) on the sensor show up in images with clear skies or plain backdrops when your lens is stopped down to f/8 and lower.
You can do a blue sky test but Blue skies are not always available in the UK. Luckily you can check your sensor quickly at home. Before any important assignment, project, holiday or wedding we recommend checking your sensor to see if it needs a clean. This could save you hours in editing afterwards.
Our technicians clean camera check and clean sensors every day. We asked them the best way to check for dust on an imaging sensor.
Sensor Check Kit List
Your Camera
A 50mm f1.4 lens (ideally but any standard angle lens will do)
Tracing paper or diffusion gel
BlueTak
a light source or window (do not point your camera at the sun, it can damage cameras and lenses)
Image editing software eg. Photoshop Elements
Step 1: Make a blank light source
If you have a lightbox for art, viewing slides or negatives then you are ahead of the game, you can use the lightbox. If you don’t, you can make one easily: Just stick some tracing paper, or lighting diffusion gel to a window like below.
Step 2: Camera Settings
We take a picture with the lens right up against our blank light source using these settings:
Put the lens flat against the lightbox or tracing paper, keep the camera pressed against the paper for the while exposure which might be ½ second on a gloomy day. We are making a shilouette of all the dust on our sensor. Since all the dust that affects your images is behind the lens it does not matter how your focus is set.
Step 4: Review your image
Download your image to your computer and open your photo in an image editing software, we’re using photoshop. At first your sensor image should look like the one below. To start with the image should look grey and flat, often there is not much dust visible apart from the most serious marks. In the next step much more dust will be revealed.
Step 5: Image Adjustments – levels
Open up the histogram or levels adjustment tool (In Photoshop go to Image>Adjustments>Levels or on windows Ctrl + L, on a mac Command + L)
All the image information is in that central spike so bring the edge sliders (black point and white point) in to either side of the histogram to increase the contrast and highlight the dust.
Any dust on your sensor should appear clearly as visible black marks.
What to do next
Once you have identified whether or not there are marks on your sensor you will need to decide what to do next, should you clean the sensor yourself? Here are some options
Professional Sensor Cleaning
We can clean your imaging sensor in our London workshop or at our Leeds and Manchester service counters while you wait Monday to Friday. This gives you a really thorough clean not just of the sensor but of the whole camera and mirror box to reduce the risk of dust falling back onto the sensor after the clean. Find out more about our sensor cleaning service.
DIY Sensor Cleaning
Not for the faint of heart but also not impossible. If you identify there is dust on your images in the middle of a trip then there might be no service-centre nearby. If that’s the case we collected some tips for DIY sensor cleaning in an earlier tips and tricks sensor cleaning article.
Shoot at a wider aperture
We tested the sensor above at f/22 which creates a crisp silhouette of all the dust, oil spots, etc, on the imaging sensor. If we did that test with the lens at f/2.8 much less of the dust would show up. You could test your sensor at various apertures and decide to continue shooting if they are acceptable up to say f/5.6. Also if you are shooting subjects with busy backgrounds many spots will not show up clearly enough to notice.
Ultimately you decide what is best for you and what action will suit your next set of photographs.
The Canon RF 14-35mm f4L IS USM is a new L series zoom lens in the Canon RF range, with a little bit extra at the wide angle. The perfect compliment to the mirrorless EOS R system and a nice alternative to heavier f/2.8 zoom lenses.
Ideal for Architecture, Travel and landscape photography this lens adds an extra 2mm on the wide end vs it EF equivalent the EF 16-35mm f4L IS USM. 14mm provides a much wider angle of view than 16mm: 104° Vs 98° angle of view respectively.
Compact constant f4 aperture
It’s not just the extra-wide angle that makes this lens great for travel and every-day shooting. The f4.0 aperture has allowed a much more compact lens design than if this lens had been built as an f/2.8. The optics are smaller which reduces the weight and size of the lens. In case the F4 aperture is not bright enough to keep your shutter speeds high, the RF 14-35mm f4L IS USM has a 5.5 stop image stabilisation system which will give plenty of tolerance for shooting sharp images hand-held. The IS benefits increase to 7 stops when used with an EOS R system camera with IBIS.
Rugged L series design
Canon L lenses are famous in photography and for good reason. They have long set a benchmark for professional reliability and durability. The RF 14-35mm f4L IS USM lens is no different, pictured above is the weather and dust sealing points to keep you lens operating in challenging conditions. The lens also features a lens control ring that can be customised to adjust ISO, aperture or exposure compensation without taking a hand away from the lens.
Our sales team have years of experience helping photographers find the right kit for them. To pre-order contact our sales team on 0207 582 3294 or email us at sales@fixationuk.com The Canon RF 14-35mm f4L IS is £1,749
The Nikon Z fc is a mirrorless DX crop-sensor camera built to the dimensions and style of the iconic Nikon FM2 film camera from the early 1980s. This very nice little camera has launched with a tasty 21 megapixel sensor and full AF tracking capability you would expect from a modern Nikon digital camera including Eye and Animal AF tracking for stills and video.
The Nikon Z fc body-only is £899 sales are expected to start in July. To pre-order contact our sales team on 0207 582 3294 or email us at sales@fixationuk.com
The Controls
The top cover of the Nikon Z fc has three control dials on the top cover for direct access to exposure compensation, shutter speed and ISO. There is also a display for the aperture read-out and some nifty switches such as on/off, stills / video and an M / A / S / P / Auto selector. With this array of direct access controls on the top cover and a pedantic mind-set, we reached for some analogue Nikon tech and would contend that the design resembles more a Nikon FE which had exposure compensation and ISO on a separate dial to shutter speed. Have a look at the pictures below and let us know what you think in the comments.
Video as well as stills
Despite its heritage look, the Nikon Z fc is a thoroughly modern camera inside with 4k no-crop video recording (the sensor is already a DX crop for stills), higher frame rates for slow-motion, and a wide ISO range of 100-51,200 (extendable to higher levels if needed). There is also a constant focus mode AF-F just for video for smooth tracking of moving subjects during recording.
Lenses and compatibility
All Z series Nikkor lenses are compatible with the Nikon Z fc. Nikon launched two lenses with the Nikon Z fc with some silver retro styling a dedicated DX 16-50mm and a special edition full frame FX 28mm f/2.8 prime lens. In addition all G series F-mount Nikkor lenses can be used with the Nikon FTZ mount adaptor. The DX cropped sensor may give different results if you are used to shooting full-frame FX format. Full frame lenses on a DX body have a 1.5x crop factor so a 35mm lens will give an angle of view of a 52.5mm lens.
Pre-G lenses such as Nikkor AF-D and manual AF-I lenses are not compatible with the FTZ adaptor.
Vari-angle Rear TFT monitor
The Rear TFT monitor can be set in multiple positions for waist-level, overhead and selfie shooting. It can also be folded to face inwards taking the rear monitor out of the equation for some authentic, distraction free analogue-esque camera operating (it also keeps the screen safe from scratches).
When the screen is set to faces in the same direction as the lens the camera will automatically enter “self-portrait mode” this gives touch control on the screen for shooting or starting / stopping recording.
SnapBridge Connectivity
The Nikon Z fc is compatible with SnapBridge v2.8 which allows direct transfer of images to the SnapBridge app on Apple and Android devices. There are two SnapBridge options: • Foreground transfer where images are only transferred while the app is in use • Background transfer which constantly backs up images and video to a connected device
Our Verdict
For anyone starting out in photography this camera will give you all you need and more. With the accessible, tactile controls for the key settings in photography, the Nikon Z fc may get you out of auto mode faster than starting in other models.
The Nikon Z fc fits a lot of great functions into an attractive, compact design, at a great price. A Nikon digital camera that feels like an FM2 in size will have a huge appeal. We have seen many Nikon analogue cameras through our doors for repairs and servicing and know that the FM2 and FE cameras are well loved by the film community. Analogue style controls are popular already in Nikon with the DSLR Df and outside of Nikon in the popular Fujifilm X system.
A possible drawback is that the camera only sports a DX sensor not the full-frame FX. Lovers of wide-angle photography will have to reach for even wider lenses than they usually would to achieve the angle of view they expect. However DX sensors give an advantage to sport and wildlife photographers who gain extra reach from their long lenses thanks to the crop.
Our sales team have years of experience helping photographers find the right kit for them. If you have any questions or would like to place an order please call us on 0207 582 3294 or email sales@fixationuk.com
Nikon Z fc Prices and Kits
Nikon Z fc body only – £899
Nikon Z fc kit with Z 28mm f/2.8 SE – £1,129
Nikon Z fc with Z DX 16-50mm f/3.5-6.3 kit – £1,039
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