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JAMES
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P24
GUY BOURDIN
AND AP8 ART

Photo: Guy Bourdin

Contents
Issue 238 | Vol. 79 No.1, 2023
46 Profile – Anthony Gordon And
Nothin’ But Shorts International
Filmmaker Anthony Gordon has built a successful production
company that’s prepared to go to the ends of the earth in order
to tell a good story. It’s often a challenge for him, his crew and

6
his equipment.
News & New Products
Despite the many challenges facing camera makers, there’s still plenty
going on. Particularly notable is Leica’s relaunching of the M6 35mm
50 In Practice – A Few Of My Favourite
Things: Anthony Browell
rangefinder camera which originally made its debut in 1984… it’s a sure A river paddle steamer and a tugboat (yes, real ones) have been
sign that the film revival is gathering momentum. Meanwhile it’s still among the important things in Anthony Browell’s life, but we
full-steam ahead in the mirrorless camera world with the arrival of the focused on a few of the items we could actually get into a room
Canon EOS R6 Mark II, OM System OM-5, Sony A7R V and Fujifilm X-T5. for a snapshot of his many interests… including a bespoke
There are also new mirrorless system lenses from Canon, Fujifilm and pinhole camera.
Panasonic. Plus, Hasselblad new 100MP X2D 100C is about as desirable
as modern-era digital camera can get.
56 On Trial – BenQ DesignVue PD3205U
32-Inch 4K UHD Designer Monitor
A 32-inch display with 4K UHD resolution has become something of
24 Feature
Guy Bourdin And AP8 Art a ‘sweet spot’ for photo editing as well as video work, and BenQ’s
PD3502 is even sweeter thanks to its exceptional affordability and
The legendary – and highly innovative – French fashion photographer
its outstanding colour accuracy.
died far too young in 1991, but his estate continues to promote his
work and a special collection of very fine-art prints has been made
available for online sales via AP8 Art. It’s the start of a long-term
program to make collectable photography both more accessible This issue’s main cover photo is
and affordable. by Sydney-based photojournalist
Thomas James Parrish who is

32 Profile continuing the long tradition of

Thomas James Parrish And Oh India using photography to highlight
worthy causes and important
“When I’m photographing and telling a story, I know I’m on the right
issues. For the full story turn to
path and I hope my photographs can act as an instrument for positive
page 32.
social change,” explains photojournalist Tom Parrish, and he’s recently
published a book to help raise funds for an important community
project in India’s West Bengal region.

03
 FIRST FRAME
ISSUE 238, VOLUME 79 NO.1

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A
side from the football itself, have sealed the mirrorless deal for sports
Email: paul.burrows@futurenet.com
Web: www.digitalcameraworld.com/prophoto an interesting sideline at the and action shooters. The benefits are clear
Editorial
2022 FIFA World Cup has to see, and it’s why, ultimately, the DSLR
Editor: Paul Burrows been to check out the was doomed. More of a surprise though,
paul.burrows@futurenet.com
sidelines… specifically at is just how quickly Canon and Nikon have
Art Director: Kristian Hagen
kristian.hagen@futurenet.com what the sports photographers covering got up to speed despite being late to the
the matches are shooting with. The DSLR mirrorless party as far as having credible
Sub-editor: Sharmishta Sarkar
sharmishta.sarkar@futurenet.com has, of course, reigned supreme in sports systems was concerned. That both now
Contributors photography, but for the first time I could have true pro-level bodies backed by all the
Bruce Usher, Trevern Dawes,
Stephen Dawson, Alison Stieven-Taylor.
see quite a lot of mirrorless cameras in required lenses – including supertelephotos
action. In particular, the distinctively chunky – means that their dominance of the pro
Photography
All copyrights and trademarks are recognised shape of the Canon EOS R3 was very camera market will continue. Yes, Sony
and respected.
Advertising evident and, on one occasion, I spotted a has made some inroads – and Fujifilm to a
Advertising Director: Jim Preece camera that looked very like the R3, but had lesser extent – but the brand-loyalty bond
jim.preece@futurenet.com
Advertising Manager: Lewis Preece all its badges blacked out so it could have has been hard to break and it’s probably
lewis.preece@futurenet.com
Advertising Liaison: Diane Preece been an R1 being given a workout. It’s funny well-nigh impossible now. Both companies
diane.preece@futurenet.com
Management
how taping up the brand name and model will keep building on what they’ve achieved
Managing Director: Neville Daniels number actually has the effect of attracting so far… Canon with the aforementioned
Printed by IVE GROUP
Distributed in Australia by more attention… or maybe it’s just that I’m EOS R1 and Nikon with the Z 8 – the most
Are Direct Pty Limited www.aredirect.com.au
a bit of a camera nerd. While it’s reported likely model number for the Z 9’s support
ISSN 1328-715X that the R1’s release has been delayed act. The rate that new lenses are arriving
(perhaps to as late as mid-2024), there are remains remarkable, but the commitment
We are committed to only using magazine paper which is derived from
responsibly managed, certified forestry and chlorine-free manufacture. The known to be pre-production units in the that’s being demonstrated here is reassuring
paper in this magazine was sourced and produced from sustainable managed
forests, conforming to strict environmental and socioeconomic standards. The field and major sporting events are great not just for these systems’ users, but for the
manufacturing paper mill holds full FSC (Forest Stewardship Council) or PEFC
certification and accreditation opportunities to really put a new camera industry as a whole.
All contents © 2021 Future Publishing Australia or published under licence. All
rights reserved. No part of this magazine may be used, stored, transmitted or through its paces. There’s been a lot of upheaval in
reproduced in any way without the prior written permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England The once previously reasonably reliable professional photography over the last few
and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All
information contained in this publication is for information only and is, as far as method of comparing the number of white years – especially in this country – and just
we are aware, correct at the time of going to press. Future cannot accept any
responsibility for errors or inaccuracies in such information. You are advised to lenses and black lenses in a gaggle of sports how it all will pan out still isn’t clear, but
contact manufacturers and retailers directly with regard to the prices of products/
services referred to in this publication. This magazine is fully independent and not photographers to determine the Canon and as we start a new year, I’m actually feeling
affiliated in any way with the companies mentioned herein.

Information contained in this magazine, whether in editorial matter or in feature Nikon shooters doesn’t work quite so well more confident about the future than I
articles or in advertisements or otherwise, including in particular, but not limited
to, technical information, is published on the basis that neither the publisher, now. Sony, Fujifilm and OM System (the have for a while. Mirrorless is bedded in so
its employees and/or agents, nor its distributors accepts or assumes liability or
responsibility for any loss or damage resulting from the incorrectness of such brand formerly known as Olympus) all now we can now all move on; there’s a better
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If you submit material to us you warrant that you own the material and/or have the
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Future and its licensees a licence to publish your submission in whole or in part in
any/all issues and/or editions of publications, in any format published worldwide
much like Canon is the brand of choice we have the technology); the scope for
and on associated websites, social media channels and associated products. Any
material and/or equipment you submit to us is sent at your own risk and, although
among sports photographers. The EOS R3 innovation in both practice and business
every care is taken, neither Future nor its employees, agents, subcontractors or
licensees shall be liable for loss or damage. We assume all unsolicited material appears to have been the tipping point is considerable; and through it all, the
is for publication unless otherwise stated, and reserve the right to edit, amend,
and/or adapt all submissions. The submission of material and/or products or as it convincingly demonstrates that a essence of photography and the power
equipment to us signifies that you have read, acknowledged and accepted all the
abovementioned conditions. pro-level mirrorless camera can blow a of the photograph endures. The trials and
Privacy statement pro-level DSLR out of the water, especially tribulations of recent times have been
If you provide information about yourself this will be used to provide you with
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when it comes to shooting speeds and challenging indeed and it’s not quite all over
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Future Publishing Australia may also give your information to organisations that
autofocus performance, but also the video yet, but to use a footballing analogy, we can
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photographers now than ever before). Over attacking some goals.
Publishing Australia holds about you, please contact us.
at Nikon, the Z 9 has similarly shown up the
D6 to be slow and noisy… especially as it
can zip along at 120fps at a still useful 11MP
res. The super-fast read-out rates achievable
with stacked sensors and the brilliance of
AI-based subject recognition and tracking Paul Burrows, Editor
Future plc is a public Chief executive Zillah Byng-Thorne
company quoted on the Non-executive chairman Richard Huntingford
London Stock Exchange Chief financial officer Penny Ladkin-Brand
(symbol: FUTR)
www.futureplc.com Tel +44 (0)1225 442 244 04
 A M P L I F Y YO U R
V E R S AT I L I T Y

A true multimedia powerhouse full-frame mirrorless camera built for cinematic 4K60p UHD videos that
immerse viewers into another world. Slow-motion Full HD and built in timelapse options allow seamless
creativity. The Nikon Z 6II, powered by the NIKKOR Z lenses, lets you create both dramatic still images and
videos with total confidence. Dual EXPEED 6 image-processing engines allow you to shoot stills longer at
higher continuous shooting speed while supporting versatile recording options including 12-bit RAW video
output*1*2. Eye-Detection and Animal-Detection AF are available in both stills and videos, along with a
wide standard range of ISO 100-51200 and dual memory card slots. Greater Power, fewer limits. Let your
creativity reach new heights.
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06 NEWS
IMAGING PRODUCTS & PROCESSES
Big Megapixels
Boost For
Fujifilm’s X-T5
As expected, the 40.2MP X-Trans CMOS
5 HR sensor from the flagship Fujifilm X-H2
has arrived in a more compact X-T series
body. The X-T5 also has the next-gen X
Processor 5 engine, the seven-stop IBIS and
the three-way tilting monitor screen (which
bypassed the X-T4 and so was last seen on
the X-T3). On the video side, the X-T5 can
record at up to 6.2K internally at 30fps with
10-bit 4:2:2 colour at the 16:9 aspect ratio
(but with a 1.23x crop). It has the X-H2’s
4K DCI HQ and 4K UHD HQ modes that
oversample at the 6.2K res for enhanced
image quality.
The X-T5 inherits the classic dial control
layout that has been a feature of the X-T
series cameras since the original X-T1.
The styling is very similar, but the X-T5 is a
little smaller than the X-T4 and around 50g
lighter. The bodyshell is magnesium alloy
with weather sealing and insulation for
shooting in subzero temperatures. The EVF
is the same 3.69 million dot OLED panel as
is used in the X-T4, but the magnification
increases slightly to 0.8x up from the X-T4’s
0.75x (35mm equivalents). As already
noted, the rear screen returns to the three-
way tilt of the earlier X-T series models and
which allows for an upward tilt adjustment
when shooting in the vertical orientation.
The monitor’s resolution is 1.84 million dots.
The X-T5 uses the same higher-capacity
NP-W235 battery pack as the X-T4 and the
X-H2 twins, but there’s no option for fitting
a battery grip (however, a non-battery
optional handgrip is available). The new
camera retains dual memory card slots
for SD format devices,
both with UHS-II
speed support.
The sensor
has a BSI-type
design to give a
native sensitivity
range equivalent
to ISO 125 to 12,800
with extensions to ISO 64
and 25,600. The maximum
image size for stills is
7728x5152 pixels. As with
the X-H2, the top continuous
shooting is 15fps or 20fps with a 1.29x
crop… although this still yields a resolution
of 31MP. The 15fps shooting is with full
AF/AE adjustment, and is delivered using
the mechanical
shutter, which has
a speed range of
30-1/8000 second.
The electronic
shutter has a top
speed of 1/180,000
second and allows for
continuous shooting at up
to 13fps.
The X-T5 also gets the H2’s
Pixel Shift Multi-Shot mode that captures
20 shots with half-pixel shifts to give a
resolution of 160MP. As on the H2, however,
it’s only for tripod-based shooting and the
multiple images need to be combined post-
camera using the free Pixel Shift Combiner
software. The X-T5 also adds 10-bit HEIF
(High Efficiency Image File) capture to
its RAW and JPEG options, plus there’s
in-camera conversion of RAW files to TIFFs
(as well as to JPEG and HEIF).
Not surprisingly, the X-T5 has the
same hybrid phase/contrast-detection
AF systems as the X-H2 with AI-based
object recognition for a range of subjects –
animals (dogs, cats and
horses), birds, cars,
motorcycles, bicycles,
aircraft and trains.
The tracking for
humans can be set
to face or eyes and
recognises when the
subject is wearing
glasses, goggles or a
mask.
For video recording,
there’s the choice of the H.264
or the more efficient H.265 codecs
with either 10-bit 4:2:0 or 4:2:2 colour
subsampling, and either Long-GOP
interframe or All-I intraframe compression.
The bit
rates
extend up to
360 Mbps, with
maximum frame rates
of up to 50/60p for 4K and
200/240p for 2K. With F-Log2 recording,
Fujifilm claims a dynamic range of 13+
stops, and there are also the FLog and
HLG profiles. The top spec for external
recording via the camera’s Type D micro
HDMI connection is a 6.2K UHD 12-bit RAW
output at 30fps for encoding as ProRes
RAW with the Atomos Ninja V+ recorder or
BRAW with BlackMagic Video Assist.
The X-T5 inherits the current set of 19
Film Simulation profiles, including the latest
Nostalgic Neg setting, AI ‘deep learning’ for
the auto white balance control, in-camera
panorama stitching, an intervalometer with
the option of shooting unlimited frames,
and a host of bracketing modes including
for focus and the film profiles.
The Fujifilm X-T5 is available now
priced at $3,199 for the body only, which is
available in either silver or black finishes.
There are two lens kit options – with the
XF 18-55mm f/2.8-4.0 R LM OIS zoom at
$3,949 or the XF 16-80mm f/4.0 R OIS
WR zoom at $4,099. Fujifilm Australia
provides a three-year warranty for X-series
mirrorless cameras purchased in Australia
from an authorised reseller.
For more information visit
www.fujifilm.com.au.

Easy Cyc Setup
With Easiframe
Curved
The Easiframe Curved is a patented
Australian-design created specifically for
photographers and cinematographers
shooting portraits – people or products.
It is a changeable fabric cyclorama back-
drop – claimed to be a world first – which
enables the creation of a professional
shooting space in any environment or
workspace, and gives a smooth wall-to-
floor transition via an extruded frame. The
fabric skins are machine washable and
stretch tight, eliminating the need to deal
with creases during and after a shoot. It
can be used in portrait and people
photography or as a green screen for
video productions, and it can be
customised to the required size.
Both the Easiframe Curved and
the standard Easiframe backdrop are
manufactured in Australia by Printaly
Pty Ltd, which is based in Castle Hill,
Sydney. The Easiframe Curved was
invented in 2019 by Printaly and granted
an innovation patent in May 2020. The
Easiframe is available in a number of
versions, including single-sided wall-
IMAGING PRODUCTS & PROCESSES
mounted, double-sided free-standing and
LED lightbox. It has been widely used in
exhibitions, events, stadiums, signs and
photography industry.
Kellie-Anne Clifton – who is the
company’s business development
manager – notes, “There is nothing else
like Easiframe Curved in the world. We
haven’t presented it to one photographer
yet in Australia who hasn’t purchased
it. That’s an impressive strike rate. It’s
easy to use, cost-effective and best of
all outlasts any other backdrop on the
market.”
Setup takes around 20 minutes, and
brackets for wall mounting are included
with the kit. Alternatively, the brackets can
be used with light stands if the backdrop
is to be free-standing. A key design
feature is a silicone insert channel in the
frames, which makes changing the fabric
skins both quick and easy. Additionally,
the fabric skins do not crease so there is
no need to steam or iron them. The fabric
is dye-sublimated which enables it to be
machine washed using a cold water cycle
and then air dried.
For more information about the
Easiframe products visit www.
easiframe.com or telephone
Printaly on (02) 8677 3793.
NEWS 07
Close Encounters
With Fujifilm’s New
X-Mount Macro
The Fujinon XF 30mm f/2.8 R LM WR
Macro is a new addition to Fujifilm’s
X-mount lens system and joins the two
existing 60mm f/2.4 and 80mm f/2.8 macro
lenses. The effective focal length is 46mm
and the lens’s minimum focusing distance
of 10cm delivers a 1:1 life size reproduction
(equivalent to 1.5x larger in the full-frame
format). The optical construction comprises
11 elements in nine groups, including three
aspherical types and two with extra-low
dispersion (ED) characteristics to help
minimise both chromatic and spherical
aberrations.
Weighing in at 195g, the 30mm macro
employs a linear motor to drive its internal
focusing group, and optimise both speed
and accuracy. The external construction
employs metal alloy barrel tubes with
sealing at nine points to protect against
dust and moisture, plus insulation to enable
operation is subzero temperatures down to
-10º Celsius. The compact lens measures
69.5mm in length and has a diameter of
60mm, giving a screwthread filter fitting
of 43mm.
Fujinon XF 30mm f/2.8 R LM WR Macro
is available in Australia now priced at
$1,129. Fujifilm Australia provides a three-
year warranty for Fujinon X-mount lenses
purchased in Australia from an authorised
reseller.
For more information visit
www.fujifilm.com.au.
08 NEWS
Canon Gives
The EOS R6
Mark II More Bite
Canon Australia says it is still selling
DSLRs, but the split with mirrorless cameras
in the company’s ILC business is now 80/20
with reflex sales continuing to decline. This
is as Canon introduces the first upgraded
model since the launch of its EOS R full-
frame mirrorless system back in October
2018. The EOS R6 Mark II takes over from
the R6, which is discontinued despite only
being around two-and-a-half years old.
Canon obviously thought there was
room for improvement because, although
the Mark II camera is physically virtually
identical to its predecessor, quite a lot has
changed on the inside.
It starts with the sensor, which is an
all-new 24.4MP CMOS made by Canon, but
not the same BSI-type stacked imager used
in the EOS R3. In comparison, it’s pretty
conventional in design, but Canon says it
has reduced rolling shutter distortion and
it’s able to support continuous shooting at
up to 40fps. This is achievable with both
JPEG and RAW capture, but the latter is
with 12-bit colour rather than the 14-bit
files that are available at the slower
shooting speeds of 20fps or 5fps. The Mark
II model now has the RAW Burst Mode
facility which provides half a second of
pre-release shooting and then continuous
shooting at 30fps, with all the images in the
sequence available in a group CR3 file for
easier browsing and selection. Individual
frames can then be saved as a RAW,
HEIF or JPEG file. As before, the camera’s
mechanical shutter allows for shooting at
up to 12fps.
The video specifications are boosted
to give 4K UHD recording at 50/60ps using
the full width of the sensor (the R6 has
a small crop), oversampling from 6K and
with a significantly increased recording
time of up to 40 minutes. Clearly, Canon
has worked on heat dissipation, so the R6
II can shoot for a lot longer than the first
model. There’s the option of recording
4K/60p using an APS-C crop which further
extends the maximum recording time to
50 minutes. There is now theoretically no
limit when recording 4K at the slower frame
rates (Canon quotes six hours for 4K/30p).
The high-speed frame rates with Full HD
video recording now extend up to 150/180p
for super slow-mo effects. A ProRes RAW
output via HDMI is available at 6K full frame
or 3.7K in the cropped ‘Super 35’ format
(close to
APS-C in
size) which
is supported by
the Atomos Ninja V+
recorder. Both can be at up to 50/60p.
The CLog3 profile replaces Clog to give
an extended dynamic range, and there’s
also a pre-release recording function for
video that can be set to either three or
five seconds.
The new sensor provides Canon’s
Dual Pixel CMOS AF II phase-detection
autofocusing and continuous adjustment
is available with the 40fps stills shooting
and 60fps video recording. The AI-based
subject recognition has been expanded to
include horses under the Animal category,
plus there’s a new Vehicles category that
covers cars (which includes motorsport),
motorcycles, aircraft and trains. Both eye
and face detection is available for tracking
people and animals, and it’s possible
to specify either the right or left eye. If
tracking an eye or face becomes too
difficult, the camera will switch to following
the head or, if necessary, the body. An
Auto mode is also available for subject
recognition and tracking, and locks on to
whichever subject type it is able to identify
in the frame.
New features include
in-camera panorama stitching
and ‘Moving Subject HDR’ which
corrects for any movement when
capturing an extended dynamic range
sequence.
Externally, the Mark II model is little
changed from its predecessor, but there
have been a couple of revisions to the
control layout, namely the addition of a
dedicated photo/video switch and, as a
result, the on/off switch has moved from
the left side of the top panel to the right.
Otherwise, it’s the same magnesium
alloy bodyshell with weather sealing and
insulation for subzero temperatures, an
OLED EVF with 3.68 million dots resolution
(but now OVF simulation as on the R3),
a fully-articulated touchscreen monitor
with 1.62 million dots resolution, dual
memory card slots for SD types (both with
UHS-II speed support), the multi-function
accessory shoe and the venerable LP-E6
battery pack. The original BG-R10 battery
grip can still be fitted.
Wireless connectivity is enhanced with
a step to the 5GHz band for Wi-Fi and the
updated Version 5.0 of Bluetooth LE, plus
there’s a new version of Canon’s Camera
Connect app that is both more convenient
to use and more efficient. Additionally,
the camera can be used as a webcam
on PC and Mac computers running
video-call apps such as Skype, Zoom and
Teams without having to install additional
software.
The EOS R6 Mark II is available now
priced at $4,499 for the body only or $6,399
when packaged with the RF 24-105mm
f/4.0L IS USM. Canon Australia provides
a five-year warranty for EOS R system
cameras and lenses purchased from one
of its authorised resellers.
For more information visit
www.canon.com.au.
10 NEWS
IMAGING PRODUCTS & PROCESSES
New Studio Opens
In Brisbane’s Heartland
Inspired by Los Angeles’s famous Abbot Kinney Boulevard, the recently
opened Standard Studios in Brisbane is a purpose-built production studio
comprising two separate studios for photography, film-making, eCommerce and
product content production. Located at 109 Robertson Street in Fortitude Valley,
Standard Studios hopes to set a new standard for high-end production spaces
in Queensland. Both studios are fully accessible by a van or car, meaning there’s
no need to lug heavy products or equipment. A dedicated studio manager is
provided to take care of all clients’ needs in the lead up to, and on the day of
use, including sourcing lunch from nearby venues and ensuring everything runs
as smoothly as possible.
Standard Studios manager, Isabella Jelander, says the facility is designed to
fill a much-needed gap in the Queensland content creation, production and
photography market.
“We looked to LA for inspiration given it’s the home of film and production
and birthed Standard – a state-of-the-art studio space housed inside a
beautifully restored old building. While in LA touring studios, we learned that
location, architecture and customer service are key, and we noted that there
was nothing like this on offer in Queensland.”
Isabella states, “Standard is receiving great feedback on all fronts, in
particular having myself as the dedicated studio manager, offering ‘hotel
concierge’ style service to our clients. We are not simply hiring out space – we
are providing a first class experience to give our clients the very best chance to
succeed, which we feel was missing from the market big time.
“The fully customisable studios can host a vast range of high-level
production requirements – atmospheric films, commercials, campaign videos,
photography shoots and eCommerce shots, either with or without models –
the list goes on.”
Standard Studios architect, Harry Pullar, says the studios and the
neighbouring workspace have been designed to elevate the creative
experience, while utilising as many recycled materials to bring his vision to life.
“We wanted to create a project that gave the people working in the space a
sense of purpose and connection, and make them feel inspired. We set out to
achieve this by retaining as much of the building’s original character, using as
many recycled materials as possible and introducing large open spaces where
people can gather to talk, share ideas and inspire each other. We hand-milled
over five kilometres of recycled timber sourced from old local Queenslander
cottages, and we used recycled windows, bricks and much more.”
The result is working spaces that can accommodate over 50 people, two
state-of-the art studios, an oversized commercial kitchen and entertaining
space, runways, art walls and outdoor landscaped courtyards which all flow
and connect with one another.
The complex’s Studio One is a U-shaped acoustic cyclorama (8.5x6.5 metres
in area) that includes a state-of-the-art 7x4 metre ceiling mounted with a
customisable, retracting lighting rig and equipped with three-phase power.
Studio Two is equipped with a single-wall cyclorama (5.3x4.8 metres), French
windows, polished concrete floors and feature walls that make it the ideal
space to shoot eCommerce and product-based photography or video work.
For more information about Standard Studios or to book a
walk-through visit https://www.standardstudios.com.au.
BRIEF EXPOSURES
Samyang has announced its first autofocus cine lens which is also the
world’s first AF cine lens in the Sony FE mount. The Samyang V-AF 75mm T1.9
is the first of a line of five lenses planned by the Korean manufacturer – the
other models are a 35mm T1.9, a 25mm T1.9, a 45mm T1.9 and a 20mm T1.9 –
and all will share the same dimensions and 70mm screwthread filter fitting.
Canon Adds Classic
135mm Prime To RF
Mirrorless System
If you’re a Canon EOS R system user, there’s a lot
to like about the recently released RF 135mm f/1.8L
IS USM short telephoto prime. It combines the clas-
sic 135mm focal length with a fast maximum aper-
ture of f/1.8 and built-in optical stabilisation offering
up to 5.5 stops of correction for camera shake. This
extends to eight stops with the EOS R series camera
bodies that have in-body image stabilisation.
The optical construction comprises 17 elements
in 12 groups with three special types that have
ultra-low dispersion (UD) characteristics to correct
for chromatic aberrations. Both Canon’s Air Sphere
Coating (ASC) and Super Spectra Coasting (SSC)
multi-coatings are used to minimise the internal
reflections which otherwise cause ghosting and
flare. The autofocusing drive employs Canon’s
Nano USM motor for fast and quiet operation.
The minimum focusing distance is 70cm, giving
a maximum reproduction ratio of 1:3.8. The nine-
blade diaphragm promises to produce smoother
out-of-focus effects.
Externally, the RF 135mm f/1.8 has a weather-
sealed construction with a fluorine coating on the
exposed surface of the front element to help repel
moisture and grease. There are two customisable
Lens Function buttons and the RF system’s multi-
function Control Ring which can be set to adjust
the shutter speed, aperture, ISO or exposure
compensation.
The lens measures 130mm in length and has a
diameter of 89mm, so the screwthread filter fitting
is 82mm. The weight is 935 grams.
The RF 135mm f/1.8L IS USM is available now
priced at $3,969. Canon Australia provides a five-
year warranty for EOS R system cameras and lenses
purchased from one of its authorised resellers.
For more information visit
www.canon.com.au.
12 NEWS

or medium image sizes (at 15 and 26

megapixels respectively).
The camera gains the same 9.44 million
dots OLED-type EVF from the A1 (and the
A7S III) which also has a large magnification
of 0.9x. The 3.2-inch LCD monitor panel
steps up to 2.1 million dots resolution.
It employs a dual-articulating, four-axis
arrangement so it can tilt conventionally
behind the camera or be swung out to
enable the vari-angle adjustments often
required by video-makers (including to face
forwards).
There’s a big step up in the A7R V’s
video capabilities compared to the previous
model, topped by 8K UHD recording

Sony A7R V Has The Most (7680x4320 pixels) internally at 24 or 25fps

with 10-bit 4:2:0 colour. This is with a 1.24x
Advanced AI AF Yet crop as is the 4K UHD recording at 50/60p,
but there’s also 10-bit colour here with
The fifth-generation model of Sony’s speed SD devices and the much faster 4:2:2 subsampling. The full width of the
high-res Alpha mirrorless series keeps CFexpress Type A cards. sensor is used for 4K recording at 30fps
many of its predecessor’s features, but Sensor shifting delivers in-body image or slower (oversampled from 6.2K with no
has an all-new autofocusing system that stabilisation with five-axis movements and pixel binning). The feature set includes the
further leverages the benefits of AI-based now up to eight stops of correction for S-Log2, S-Log3 and HLG (HDR) profiles the
subject recognition. Sony calls it ‘Real-Time camera shake thanks to new gyro sensors ‘S-Cinetone’ mode from the Venice cinema
Recognition AF’. The new algorithms make and the more powerful processor. This also camera, focus breathing compensation, a
it very much more powerful than what’s enables the Pixel Shift Multi Shooting mode 16-bit RAW 4K UHD output via HDMI (with
been seen so far in the previous Alpha that' available with either four- or 16-shot proxy recording) and a handy Focus Map
bodies. In addition to eye, face, head and capture and intelligent motion correction function for visualising depth-of-field. The
body detection for people, the system can for handheld shooting (post-camera via passive heat dissipation measures have
recognise specific sections of a body (such the Imaging Edge Desktop software). been further improved to allow for longer
as limbs) and also poses or postures. Eye, The 16-shot capture delivers a resolution video clip durations.
head and body detection is also provided of 240.8MP. The Sony A7R V is available in Australia
for animals and birds, along with head and New to the A7R V is a lossless now priced at $6,199 body only.
body detection for insects, which is a first. compressed RAW mode that joins the
Fore more information visit
There are now also recognition modes for uncompressed and lossy compressed
www.sony.com.au.
cars, aircraft and trains. Notably, subject options, and provides the choice of small
recognition and tracking is now available
when shooting video.
All this data processing requires its
own dedicated chip and the A7R V uses the
latest generation Bionz XR processor which,
Sony says, is eight times more powerful
than its predecessor. It’s mated with the
same 60MP BSI-type Exmor R CMOS as
is used in the previous A7R IV model, but
the newer processor means performance
improvements in various areas including
noise reduction and colour reproduction.
Continuous shooting is available at up to
10fps with the camera’s mechanical shutter
and with either JPEG or compressed RAW
capture. This is with continuous AF/AE
adjustment, but if you want live view, the
top speed is 8fps. The electronic shutter
allows for continuous shooting at up to
7fps. There are dual memory card slots and
both are multi-format, supporting UHS-II
 NEWS 13

external styling (see separate new item).

The X2D 100C also gets a new EVF
module that uses a 1.27cm OLED panel
with 5.76 million dots resolution, a refresh
rate of 60fps and 1.0x magnification.
It also has built-in refractive error
correction to ensure corner-to-corner
sharpness. Eyepiece dioptre correction
is now performed digitally rather than
mechanically. Fixed on the 50MP cameras,
the X2D’s monitor screen is adjustable
for upward tilts and has a resolution
of 2.36 million dots. The touchscreen
implementation includes menu navigation,
image browsing and review, AF point

Hasselblad Joins A new feature for the Hasselblad X

series line is in-body image stabilisation
selection and an AF ‘touchpad’ for AF point
selection when using the EVF.

The 100MP Club with five-axis movement and up to seven

stops of correction for camera shake.
Other notable features of the X2D 100C
include in-camera charging via USB-C, an
It’s still a very exclusive club, but now The stabilisation is optimised for the focal intervalometer, auto exposure bracketing,
Fujifilm and Phase One have been joined length of the fitted XCD lens. Also new is weather sealing (and insulation to allow
by Hasselblad in offering 100 megapixels phase-difference detection autofocusing shooting in subzero temperatures), Wi-Fi
capture. Phase One does it via its IQ4 series made possible by the 100MP sensor and and Bluetooth connectivity, and TTL flash
capture backs (and has a 150MP model provides 294 measuring zones. Obviously metering that supports selected Nikon
too), while Fujifilm and now Hasselblad the new hybrid autofocusing is a lot faster SB-series flash units. However, the camera
pack 100MP sensors into medium format than the contrast-only system in the 50MP does not shoot video and the facility won’t
mirrorless camera bodies. The Hasselblad bodies, so Hasselblad has introduced a be added down the track.
X2D 100C has essentially the same smart- new series of ‘V’ XCD lenses that use linear The X2D 100C is priced at $12,460
looking, hand-crafted aluminium bodyshell stepper motors to deliver a three-fold for the camera body. Hasselblad products
as the original 50MP model, but it’s finished increase in their focusing speed compared are distributed in Australia by C.R.
in a new dark grey tone that makes it even to the existing models. Initially, three primes Kennedy & Co.
more elegant in appearance. There are, are available – a 38mm f/2.5, a 55mm
For more information visit https://
however, quite a few changes compared to f/2.5 and a 90mm f/2.5 – which also have
crkphotoimaging.com.au.
the two 50MP X-series bodies, including a more compact designs and introduce new
new monitor design and top deck info panel
with a full colour display, plus the X2D is
fractionally bigger and 140 grams heavier,
now weighing in at 790 grams.
On the inside, the sensor is a BSI-type
CMOS with an imaging area of 43.8x32.9
millimetres, an effective pixel count of 102
million and a claimed dynamic range of
15 stops. It is, of course, the same Sony-
made imager that’s used in the Fujifilm
GFX 100 models, but with some tweaking
by Hasselblad via a new processor. The
sensitivity range is equivalent to ISO 64 to
25,600. Images can be captured as ‘3FR’
RAW files with 16-bit colour (at around
250MB in size) or full-sized JPEGs at
11,656x8742 pixels. Continuous shooting is
possible at up to 3.3fps and the X2D 100C
has a built-in SSD with a massive 1TB of
storage capacity. It’s supplemented by a
single memory card slot for CFexpress Type
B memory devices.
14 NEWS
New V-Series
’Blad Lenses
Built For Speed…
And Comfort
To keep up with the X2D 100C’s new
hybrid phase/contrast-detection AF
system, Hasselblad has introduced a new
series of XCD primes designated as ‘V’
lenses. These are significantly
different from the earlier X System lenses
in many ways, including being smaller
and lighter. Hasselblad has also taken the
opportunity to introduce new styling with
distinctive grip patterns on the focusing
ring and aperture collar created from the
company’s ‘H’ logo. The all-metal barrels
have engraved (rather than screen printed)
distance scale markings and the focusing
collar has pull/push switching between AF
and MF operation (similar to many OM
System M.Zuiko Digital lenses). The
aperture collar is actually a multi-function
ring that can be assigned other duties.
Autofocusing is performed via linear
stepping motors for faster and quieter
operation. They also feature more compact
ProPhoto 50 Years Ago
There’s nothing like a dip into the
archives to reveal just how much things
have changed in the professional
photography industry, especially over the
last couple of decades. In the early 1970s,
medium and large format cameras were
considered the only choice for pros,
especially for studio work. And black-and-
white film was still in extensive use for
many applications. Although colour was no
longer thought of as the work of the devil,
Hasselblad XCD 38mm f/2.5 V Hasselblad XCD 90mm f/2.5 V
leaf shutter modules
There are initially three Hasselblad XCD
V lenses and all are f/2.5 speed primes – a
38mm wide-angle (equivalent to 30mm), a
55mm standard (42mm) and a 90mm short
telephoto (71mm). Their arrival brings the
total XCD line up to 13 models.
The 38mm f/2.5 employs a 10-element
construction in nine groups which includes
three aspherical types and two with
extra-low dispersion (ED) characteristics
to minimise chromatic aberrations. The
minimum focusing distance is 30cm and it
weighs a modest 350 grams.
The 55mm f/2.5 construction comprises
nine elements in eight groups, including
three aspherical types and one with ED
many pros ran their own darkrooms for
processing and printing B&W.
Here’s a selection of what was on the
pages of this magazine 50 years ago when
it was called Professional Photography
In Australia. This is a snapshot of the
November-December 1972 issue.
Cover photograph – Allan Dott,
South Melbourne
Test Reports
• Bronica S2A 6x6cm SLR
People And Places
• The Pub studio complex, South
Melbourne
• RAAF School Of Photography, East Sale,
Victoria
• Ian Clues, portrait photographer,
Bairnsdale, Victoria
• Elizabeth Rudkin, portrait photographer,
Raymond Terrace, NSW
• Art Kaminshine, USA, “the incredible
wizard of colour”
The Issues
• The challenges of photographing children
• The value of photojournalism in reveal-
ing inconvenient truths as revealed by
Hasselblad XCD 55mm f/2.5 V
glass. Its minimum focusing distance is
45cm. This model weighs in at 372 grams.
There are also nine elements in the
90mm f/2.5’s optical construction, but in
six groups and with one aspherical type
and one ED type. The minimum focusing
distance is 67cm, and the 90mm tips the
scales at 551 grams.
In Australia, the Hasselblad XCD 38mm
f/2.5 V and the XCD 55mm f/2.5 V cost
$6,019 each, and the XCD 90mm f/2.5 V is
$6,879. Hasselblad products are distributed
in Australia by C.R. Kennedy & Co.
For more information visit
https://crkphotoimaging.com.au.
the Ilford Professional Photographic
Contest on the theme of ‘Concern’
The Advertisers
Maxwell Photo Optics – Nikon F2 profes-
sional 35mm SLR / Photimport – Super
Chromega Dichroic multi-format colour
enlarger / Photimport – Braun Paximat
35mm slide projectors / Photimport
– Minolta SR-M motordriven 35mm SLR
/ Photimport – Hasselblad 500C/M
and 500EL/M 6x6cm SLRs / Kodak
(Australasia) – Ektachrome Duplicating
Film 6120 / GCS Photographic Industrial
Sales – Zelox studio flash and darkroom
products. / Wild (Australia) Pty Ltd –
Lecina Super RT1 Super 8 movie camera
/ William Charlick Limited – Bronica
S2A 6x6cm SLR / R.H. Wagner & Sons –
Canon F-1 professional 35mm SLR / Union
Carbide Australia – Eveready NiCD
reachargeable batteries / Group Color
– new portrait studio / C.R. Kennedy
& Company – Pentax 6x7 6x7cm SLR
and lenses / R. Gunz (Photographic) –
Metz Mecablitz on-camera flash units /
Bleakley Gray Corporation – Canon F-1
professional 35mm SLR system / Kayell
Photographics – Colormate colour and
density analyser
 For more information, please contact:
C.R. Kennedy Professional Imaging 0484 290 729 sales@crkennedy.com.au
crkphotoimaging.com.au
16 NEWS
IMAGING PRODUCTS & PROCESSES

Next OM
System Camera
Is A Pocket
Rocket
OM Digital Solutions has unveiled its
second OM System M43 format mirrorless
camera body. The new OM-5 is the first
model to actually be badged ‘OM System’
as the OM-1 retains the old Olympus
branding, and the model number indicates
it replaces the OM-D series E-M5 Mark III.
The styling and control layout are quite
similar to the OM-D model. The design
emphasis for the OM-5 is on compactness
and ruggedness, so the body weighs in
at just 366 grams, but it’s weather-sealed
to the more exacting IP53 standard and
insulated to enable shooting in subzero
temperatures… matching the newest OM
System lenses. The sensor is the same
20.37MP Live MOS imager as before, but
matched with the later generation TruePic
IX processor. This means the OM-5 retains
the 121-point hybrid contrast/phase-de-
tection AF of the E-M5 and which employs
all cross-type arrays. OMDS says the eye/
face detection
algorithms
have been
improved and
the OM-5 also
gets the
higher-
precision
Starry Sky AF
mode and
provisions for
creating up
to four
customised AF area modes.
In-body image stabilisation with five-
axis movements now delivers up to 6.5
stops of correction for camera shake, and
up to 7.5 stops with Sync IS coupled to
lens-based optical image stabilisation. The
IBIS now allows for pixel-shifted High Res
Shot capture to give a resolution of 50MP
with the options of either handheld or
tripod modes. As on the OM-1, a range of
multi-shot capture modes (with in-camera
processing) are grouped
under the Computational
Photography banner
and include Live ND (up
to ND16), Focus Stacking,
Live Composite and HDR
bracketing (up to seven
frames).
Continuous shooting
is at up to 30fps using the
electronic shutter, but with
the AF and AE locked to the
first frame.
Pro Capture pre-release buffering
snaps 14 frames prior to shutter release.
The electronic shutter offers a top speed
of 1/32,000 second, while the mechanical
shutter runs to 1/8000 second.
The video recording capabilities run
to C4K (at 4096x2160 pixels) at 24fps,
and 4K UHD at up to 30fps. Clip lengths
are unlimited and the OM-5 has the
OM-Log400 and Flat profiles. It also allows
for video recording in the vertical format
for smartphones and can operate as a
webcam for video streaming. The IBIS is
available when shooting video, and the
OM-5 can sync with the OM System LS-P5
linear PCM external recorder to create
higher-res audio.
The EVF is an OLED panel with
2.36 million dot resolution, while the
touchscreen monitor is fully articulated and
has 1.04 million dots resolution. The single
memory card slot is for the SD format and
supports UHS-II speed devices. Many OM-D
series features carry over into the OM-5,
including the Art Filter special effects, the
Colour Creator adjustments, Keystone
Compensation and Fisheye Compensation.
The OM System OM-5 is priced at
$1,899 for the body only and $2,499 when
packaged with the M.Zuiko Digital ED
12-45mm f/4.0 PRO zoom lens.

For more information visit

https://explore.omsystem.com/om-5.

BRIEF EXPOSURES
Nikon has updated its road map for Nikkor Z lens releases, in
the process revealing plans for four new models. These are a
70-180mm f/2.8 telezoom, 35mm and 135mm S line primes (likely
to be fast, but not confirmed), and a 12-28mm power zoom (PZ)
for the APS-C Z mount system which is equivalent to 18-42mm.
Also still come – as per the previous version of the roadmap – are
a 200-600mm telezoom, a 26mm wide-angle prime, an 85mm S
line prime and a 600mm S line supertelephoto, plus a 24mm prime
for the APS-C system which will be equivalent to 36mm and also
likely to be a fast lens. Visit www.nikon.com.au.
18 NEWS
IMAGING PRODUCTS
Exhibitions · Events
Workshops · Seminars
Current to 29 January 2023: Exhibition.
Requiem To New York – Photographs By
Ashley Gilbertson. Images documenting the
impact of the COVID-19 pandemic on the
people of New York where the Australian-
born Gilbertson has lived for 20 years. At
Level 2, The Ian Potter Centre, NGV Australia,
Federation Square, Melbourne, Victoria 3000.
Exhibition hours are 10am to 5pm daily.
Entry is free. For more information visit
www.ngv.vic.gov.au.
Current to 30 April 2023: Exhibition.
Viewfinder – Photography From The 1970s
To Now. 125 Australian documentary
photographs from the last five decades
drawn from the National Library Of
Australia’s collection reveal a changing
It’s Back! Leica
Relaunches
The Iconic M6
Of all the Leica 35mm M system range-
finder cameras – with the possible
exclusion of the original M3 – the M6
remains the most highly sought after,
keeping secondhand values very buoyant
indeed. Not surprisingly then, Leica has
decided to buy back into a bit of this action,
relaunching the camera about 40 years
after the original first appeared in 1984.
It stayed in production until 2002, during
which time nearly 175,000 units were built
in a number of versions. With the
convenience of built-in TTL metering, but
still resolutely mechanical, the M6 was
considered by many to be the best of the
Ms for usability and reliability, which has
undoubtedly accounted for its ongoing
popularity.
The relaunched camera doesn’t
mess with this formula, but it does
Photograph By Ashley Gilbertson
Australia. At the Exhibition Gallery, the
National Library Of Australia, Parkes Place,
Canberra, ACT 2600. Exhibition hours are
get an updated viewfinder – the 0.72x
magnification module from the digital Ms
and the MP – modern electronics and
an improvement to the sensitivity of the
TTL centre-weighted average metering
(which again uses a silicon photo diode for
measuring). The light meter’s display now
has a red LED indicator to show correct
exposure as well as the previous under/
over arrows. A low battery power warning
indicator is also added to the viewfinder’s
read-outs.
The construction and external design
are unchanged except that the diecast
zinc alloy top plate of the original has been
replaced by a brass component milled from
a solid billet of metal which has a tough
black lacquer finish. The new camera’s
overall finish and leatherette inserts are
the same as those of the digital M11, but
as per the original, the famous red dot
badge reads “Leitz” rather than “Leica”. The
packaging is also retro, adopting the same
hard plastic presentation case as was used
in the 1980s. The body now weighs in at
9am to 5pm daily (closed Christmas Day
and Good Friday). Free entry. For more
information visit www.nla.gov.au.
575 grams (without its battery).
As before, the viewfinder has automatic
parallax correction, superimposed image
rangefinder and brightline frame pairs
for 28mm/90mm, 35mm/135mm and
50mm/70mm.
The focal plane shutter retains cloth
curtains with horizontal travel and a speed
range of 1-1000 second with flash sync
up to 1/50 second. The film speed setting
range is from ISO 6 to 6400, and the setting
dial is on the rear panel as per on the MP.
Film loading, remember, is through the
baseplate to retain the integrity of the main
bodyshell.
The new M6 is hand-built at Leica
Camera’s Leitz Park factory in Wetzlar,
Germany, and supply is expected to be
limited for a while due to the very high
initial demand. However, if you do want
one, it’s going to cost you $8, 390 for the
camera body.
For more information visit
https://leica-store.com.au
© Drew Forsyth

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 PROFILE
GUY BOURDIN AND AP8 ART

AFFORDABLE FASHION
(PHOTOGRAPHY)
Guy Bourdin And AP8 Art
Daunted by the complexities of collecting fine-art photography?
A new online sales program is designed to make collectible prints more
accessible and affordable, with the first offering being a limited edition
collection by the legendary French fashion photographer Guy Bourdin.
Interviews by Paul Burrows.

20
 PROFILE
GUY BOURDIN AND AP8 ART

Pentax calendar 1980. Copyright

The Guy Bourdin Estate, 2022.

21
 PROFILE
GUY BOURDIN AND AP8 ART
or many professional
photographers there’s a
marked differentiation
between their
commercial work and
their personal work.
Free from the restrictions of briefs and
budgets, the latter is often more creative
and hence potentially more collectible
over time. For some, though, there is
the scope for their commercial work to
be highly creative or even innovative,
laying the foundations for future
collectability.
But the world of photography
collecting remains a fickle one, with
the value still mostly in the works of
22
the most famous photographers of
the 20th century, and an emphasis on
darkroom prints with provenance. It’s
true that digital imaging has muddied
the waters and collectors remain wary
of digital prints, even ones that are
certified as limited editions. Yet the
potential is there to expand the market,
but it requires a delicate balance of
desirability, exclusivity and credibility…
in other words, the right photographer
combined with the right marketing
strategy.
This is the challenge that’s been
taken up by London-based AP8 Art
– part of the AP8 Group that also has
a Sydney office – in conjunction with
Viola Raikhel-Bolot, the founder
of AP8 Art and curator of the
Guy Bourdin Estate. Photo by
Lyndal Irons.
Net-A-Porter, the online fashion and
luxury goods retailer. Net-A-Porter
wanted to expand into the art world
and was looking for a curated collection
that could be sold online… with,
obviously, a fashion theme that made
photography an obvious choice.
The underlying idea is to open up
the market for collectible photography,
making it easier to access and easier
to buy; in the process bypassing the
challenges of auctions, agents and
authentication.
The first collection is from the French
fashion photographer Guy Bourdin,
who became known for his highly
distinctive and dynamic style based on
adventures in both composition and
colour. Born in Paris in 1928, Bourdin
began taking photographs in the 1940s
while he was serving in the French Air
Force, but was initially more interested
in painting and drawing. He later
returned to photography and, after
much persistence, in 1951 he became
a protégé of Man Ray who, by then,
was living in Paris. A contemporary
of Helmut Newton, Bourdin shot
mostly for Vogue magazine, starting
in 1955, but also Harper’s Bazaar
and his advertising work included
campaigns for Chanel, Charles Jourdan,
Bloomingdale’s and Pentax.
The highly graphic aspect to his
fashion work made his photographs
more than just about fashion and
beauty, ensuring that their immediate
visual appeal has endured and evolved.
They are still very much of their time –
Bourdin was at the height of his creative
powers during the 1960s, ’70s and
’80s – but for new audiences, they are
both dynamic and daring, particularly
in an era of overly cautious political
Some of the C- and artistic correctness. As such, AP8’s
Type proofs sent Bourdin collection is not just collectible
to SunStudios – for both photography and fashion
from the Guy
enthusiasts – but also has potential
Bourdin Estate
as high-end décor, especially since
for matching
to create inkjet purchased prints are delivered elegantly
prints. hand-framed using archival materials,
and ready to display.
Creating Collectors
Guy Bourdin died of cancer in 1991, still
in his early 60s. Viola Raikhel-Bolot, who
is a co-founder of AP8 and the head
curator of the Guy Bourdin collection,
says the photographer was notoriously
private and “a bit of an enigma”.
 PROFILE
GUY BOURDIN AND AP8 ART

Ad campaign,
Summer 1983.
Copyright The Guy
Bourdin Estate, 2022.

Pentax calendar 1980.

Copyright The Guy
Bourdin Estate, 2022.

23

“He didn’t want any books or
exhibitions of his work during his
lifetime. He really kept as low a profile
as possible in terms of exhibiting his
work. It was created purely for the
intention of what it was… which was
commercial work for fashion magazines
24
At the moment
our emphasis is on
photography because
it’s a very translatable
medium to collect and
we believe there needs
to be more education
around this.”
Viola Raikhel-Bolot, AP8 Art
with Bourdin’s son, and they apply all
the disciplines you need to operate in
international art sales.”
Viola explains, “AP8’s goal is to
create collectors. Everyday consumers
of luxury goods may not consider
themselves collectors because they
Vogue Paris, don’t have the access, the expertise
March 1972. or the market intelligence to be able
Copyright The to identify what is considered art.
Guy Bourdin What we’re providing is a framed,
Estate, 2022. museum-quality artwork delivered
directly to your door. We’re taking the
guesswork out of it and, I suppose,
we’re democratising collecting art. At
the top end of the art world – and, in
fact, all the way through – there’s this air
of intimidation so you feel that you can’t
engage in a conversation about the
artwork. We’re about making it more
approachable while still following all
the strict protocols used by art galleries,
auction houses and museums around
the world.”
Part of this approachability is to offer
just one frame size for each print using
standardised materials – Italian chestnut
finished in white and high-quality
Japanese Shinkolite acrylic – which also
helps make the prices more accessible.
Only 999 editions of each print will be
produced, certified by the Guy Bourdin
Estate, and a tamper-proof decal
guarantees its authenticity and record
of ownership.
“The craftsmanship that you would
expect if you had bought a framed print
at auction or from a fine-art gallery is
still there, but there is also the same
seamless online retail experience that
or advertising campaigns. After his customers today are used to receiving.
Vogue, Paris, death, there was an opportunity to Guy Bourdin’s photography is obviously
September, 1981. then catalogue his work and exhibit a perfect fit for Net-A-Porter and
Copyright The
it, and the response, as we know, because his images are just so luscious
Guy Bourdin
was considerable. The estate is now and intense and provocative, there
Estate, 2022.
managed very professionally by people really is something for everyone in
who have an extraordinary relationship the collection that we’ve curated. And
Proudly distributed by Dynamic Music
 PROFILE
GUY BOURDIN AND AP8 ART

the response from collectors has been
extraordinary all around the world.
“What we really wanted to do was
create a whole new relevance for Guy
Bourdin’s work in today’s market. Those
that do know of him will obviously
identify this as an opportunity to own a
piece of his work in their collections…
and those that don’t will learn about
him and his contribution to popular
culture. The price point was very
important to us so that we are able
to produce a museum-quality output
– both the printing and the framing –
with this iconic imagery.”
Viola stresses that the prints aren’t
signed or stamped by a photographer’s
estate, but they are authenticated by
AP8 and approved by the Guy Bourdin
Estate. As such, she describes them as
“valuable objects” which she believes
will only increase in value in the future.
Notably too, the price is the same for
every print in the edition.
“When you think of 999 editions
globally, it’s not a lot… and then
that’s it. That is our licence agreement
and then we’ll move onto our next
artist. At the moment our emphasis
is on photography because it’s a very
translatable medium to collect and
we believe there needs to be more
education around this. Where the price
point is for this collection provides a

SUNSTUDIOS master printer Selena Simpson (left)

with AP8’s Viola Raikhel-Bolot.

SUNPRINT’S SELENA
SIMPSON: ACCURATE Vogue, Paris, March 1983. Copyright
The Guy Bourdin Estate, 2022.
Ad campaign, Summer 1976. Copy-
right The Guy Bourdin Estate, 2022.
DIGITAL PHOTO PRINTING
ISN’T VOODOO
“I like the fact that the print, as an end product, is
something tangible that you can touch and you don’t
need to go to a computer to look at. I’m a printer so I love
prints and, generally, I find most photographers are
absolutely delighted when they see something they have
done that’s been beautifully crafted.
“My answer to somebody who tells me that digital
printing is hard is that printing is not voodoo. I’m not out
the back slaughtering chickens to make sure that your print
looks exactly like the image on the screen. What I have
done is three important things. I’ve ensured that when I’m
looking at my screen, it’s working to its best capacity and
the image is displayed as intended. Secondly, I make sure
that the software I’m using is also printing to the best of its
ability with the right profiles and colour management. And,
thirdly, I make sure I choose the right paper and profile in
the printer. It’s not voodoo… it’s just a case of having the
right equipment, understanding the basics of the rules and
then following the ones that you have to.”

26
Vogue, Paris, April 1985. Copyright Ad campaign for Charles Jourdan, 1976.
The Guy Bourdin Estate, 2022. Copyright The Guy Bourdin Estate, 2022.

27

lot of value and quality… and beauty.
These are, first and foremost, beautiful
objects and I think there’s a place for
this in the fine-art world.”
Match-Making Challenges
Viola Raikhel-Bolot emphasises the
quality of both the framing and the
printing which has to accurately match
the look of Bourdin’s original darkroom
prints handmade from colour negatives.
After a global search, the Bourdin
Estate settled on Australian Selena
Simpson, who is the master printer
at Sydney’s SUNSTUDIOS complex.
She was selected for both her
technical ability and professional
sensibility, enabling her to accurately
match traditional techniques with
the capabilities of modern printing
28
technology. SUNSTUDIOS – which is
Ad campaign, supported by Canon Australia – not
Spring 1979. only provides a range of professional
Copyright The printing services for photographers,
Guy Bourdin
but includes a number of hire studios
Estate, 2022.
with support services (such as catering),
equipment hire and retail sales of
photographic equipment. There’s also
an exhibition space where, in mid-2022,
20 of Bourdin’s images – as printed
by Selena Simpson – were displayed
These are, first and foremost,
beautiful objects and I think
there’s a place for this in the
fine-art world.”
Viola Raikhel-Bolot,AP8 Art
exactly as they can be purchased online
from AP8 Art.
Selena began her career in the film
days, printing from both negatives and
transparencies, so her long experience
spans both the analog and digital
processes, and makes her well-suited to
this particular challenge.
“I was supplied scans from a lab in
London – which is the one that assists
the Guy Bourdin Estate – and then the
estate sent me some proofs to match.
So I set about testing some papers and
we looked at a wide range of outputs
before deciding on a metallic surface
media with a natural gloss look. The
brief was essentially that the inkjet
prints had to look like the C-Type proof
prints that had been made from his
original negatives, and we achieved this
with the Chromajet Centurion Metallic
Pearl photo paper.
“There were some challenges with
the matching because digital printing
has a lot more colour available to it –
and different kinds of colours – so it
took longer than expected to match
them up. But when I was finished
the C-Types and inkjets proofs were
almost identical, and they looked
fantastic. Once we’d chosen the paper,
I had some extra profiling done so we
could output the volumes required on
multiple calibrated printers and have
everything look the same. We sent the
matched-up proofs – at the same size –
to the estate for approval and they were
very happy with the results that we
achieved… which was very pleasing.”
Selena emphasises that the only
corrections made were to issues
resulting from the scanning process,
such as in one proof where the skin
tones looked to have a reddish hue.
“I asked myself if Guy Bourdin was
standing here today, would he want this
to be resolved or not? So there were
a couple of occasions like that when I
had to consult with the estate before
making any corrections. But there
could be no changes to the image
itself… even if I desperately want to
clean up something like a little piece of
lint on the carpet. The final prints had
to be exactly as the originals and, it’s
worth noting, Guy created everything
meticulously on set and the negatives
were hand-printed with no retouching.
Everything that is there is intentional,
and that’s how I approached it.”
To view on the online collection and to
order prints go to https://ap8.art.
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30
 PROFILE
THOMAS PARRISH

THOMAS JAMES PARRISH

AND OH INDIA
A chance meeting while travelling in India introduced photojournalist
Thomas Parrish to a community project that’s since become a big part of his life
as he uses his photography to help raise much-needed funds.
All photographs by Thomas James Parrish, copyright 2022.

Interview by Paul Burrows.

ight from the time cameras
could be taken into the field,
photography has been used
to highlight issues and
instigate change. The power of
a descriptive still image remains
undiminished even in this era of widespread
video usage, and many photographers dedicate
themselves to using the medium as a catalyst
for people taking action.
Sydney-based photojournalist and travel
photographer Thomas James Parrish is one
of these, driven by a passion for exposing
and championing both environmental and
humanitarian issues. Working closely with local
NGOs, charities and communities, this passion
has taken him across the world where he has
founded projects and campaigns with refugees,
environmental agencies, religious groups and
education programs.
“With my work I try to emphasise our
responsibility as humans to care for the world,
and to express the importance of compassion
and identity through engaging storytelling. I
hope I ensure a positive impact for humanity
and the natural world and that my
photographs can act as an instrument for
inspiration and change.”
Thomas’s latest project is a photobook titled
Oh India he’s produced to help raise funds for

31
 PROFILE
THOMAS PARRISH

32
 PROFILE
THOMAS PARRISH
a village in India’s West Bengal region
that was first hit by the Covid-19 virus
and then devastated by a cyclone that
destroyed houses, invaluable crops and
vital agricultural resources.
Thomas explains why this particular
village in India has become so
important to him.
“I was sitting in a tiny café in
Darjeeling, in north-east India, when I
overheard an Australian accent talking
about the Blue Mountains – my
favourite place in Australia – to the
waitress. I struck up a conversation and
it turned out that he lived just down
the road from me, so we started
chatting about what each of us were
doing in India. His name is Michael
Symonds, and he founded a charity
group called Cobra And Mongoose
which supports local grass-roots
programs across Asia and Africa. His
ethos is to facilitate inclusive local
projects without the over-reaching
hand of white saviourism… in other
words, let the locals do the work, and
let the locals be the difference. He raises
money for projects he believes in, from
schools to homeless centres, and gets
them off the ground, dealing primarily
with the orchestrators of the projects.
He keeps himself removed from the
beneficiaries so they can maintain
inspiration for the members of their
community who are making a
difference.
“I told him how I wanted to see the
real India and he told me that I should
visit an education program called
Kaikala Chetana which is about 50km
from Kolkata. So a week later, I was met
at the train station by two volunteers
from the program who bought me
a ticket, fussed that I should take the
last seat on the train, and took me to
Kaikala. There I met Somanth who was
a local man who gave up his city job to
turn his village home into an education
centre so that he could provide free
All photographs by Thomas James Parrish, copyright 2022.

education to the village children who
would otherwise go without.
“That was in 1996, and the program
now offers free education to over 800
children across over 20 locations. I loved
it. I have kept in contact with Somnath
ever since. When Covid hit and then the
severe cyclone, Somnath spearheaded
the recovery operations for the village,
Photography, for me, will
always be about having
something to say, sharing
a story, and giving a voice.”
funnelling money from the education
program into other important areas for
the villages recovery. So, I put together
the Oh India photobook to support
Somnath and his mission to restore
the village and maintain the education
program. So far we’ve raised enough
money to fund the program for two
years.”
Sharing A Story
Thomas’s interest in photography came
from his father who travelled extensively
in the late ‘70s and throughout the ’80s,
taking photographs wherever he went.
“I grew up with his incredible images
of distant lands which also inspired me
to travel. He taught me all about
shutter speeds, apertures and ISO
setting before getting me a digital
camera for my 21st birthday. A year
later, I travelled to India to put his
teachings to the test, following in his
footsteps from his travels across the
country some 40 years earlier. I just fell
in love with photography’s ability to
break down the barrier between me
and strangers. I dug so much deeper
into travelling than I otherwise might
have to get interesting images. That
feeling of witnessing, capturing and
sharing has excited me ever since.”

33
 At the same time, Thomas also
realised photography’s potential for
raising awareness about the issues that
were important to him.
“Photography, for me, will always be
about having something to say, sharing
a story, and giving a voice. I care greatly
about humanitarian and environmental
issues, and photography allows me to
not only explore these themes in great
depth, but share their importance and
even raise money for causes I believe in.
I’m passionate about inspiring positive
social change and photography offers
me a medium through which to do
so. I’ve met some exceptional people
thanks to photography.”
Perhaps not surprisingly then,
Thomas doesn’t need a lot of
motivation when it comes getting
behind the camera and pursuing a
picture… and he doesn’t mind a
pre-dawn start either
I think it’s important to
utilise the progression
of technology, and post-
production is a vital tool
in making sure your
photos are as good as
they can possibly be.”
34
“It’s easy to get bogged down when
the commissions and features aren’t
coming in, but when I’m thinking about
the way my photography can help
others, that’s what really motivates me
and keeps me going.
“If I’m travelling, I’m always up before
dawn because the light is at its most
beautiful and the atmosphere is always
the most serene in the early morning.”
In The Firing Line
Thomas names a number of
photographers who have helped
influence his work, including the Greek-
born British portrait and documentary
photographer Platon, and the American
documentary photographer Alec Soth
who is particularly known for his large-
scale projects, some of which are made
using an 8x10-inch view camera.
“Platon’s ability to disarm his subjects
to ensure he captures them as their
most authentic self is incredible; he’s a
big inspiration for me when it comes
to connecting with people. Alec Soth’s
patience with long-term documentary
projects is incredible, as is his mastery of
large format cameras.
“Overall though, my favourite
photographers are those that put
themselves in the firing line to share
stories that have the power to make
a difference. Paul Hilton’s work in the
exotic wildlife trade and Jo-Anne
McArthur’s work in animal agriculture
and abattoirs must be so hard to face,
but they do it because they know that
whatever they are experiencing, it’s
nothing in comparison to the
experience of those they are
photographing. That philosophy of
photographing for something
bigger than themselves at the potential
expense of their own wellbeing really
pushes the boundaries of what is
possible for a photographer and is
heartbreakingly inspiring.”
Despite the fact that we’re now
bombarded daily with imagery from
all sources, particularly social media,
Thomas believes documentary
photography still has the ability to tell
powerful stories with the potential to
change perceptions or policies.
“Absolutely, I truly do believe it does.
Sometimes I question whether or not it
seeps through the cracks of the
meaningless content that Instagram
produces, but I still wholeheartedly
believe in the power of meaningful
photography and its ability to influence
and make a difference, because I’ve
seen it, and it’s something that I’ll
continue to strive to achieve.”
Respect And Understanding
Some documentary photographers
prefer to take the role of an observer,
but others like to be more involved with
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 PROFILE
THOMAS PARRISH

36
 PROFILE
THOMAS PARRISH

their subjects. Thomas Parrish says that

he uses both approaches, depending
on the situation.
“Portraiture is my favourite form
of photography, and I feel the best
portraits are produced when there is
a mutual respect and understanding
between photographer and subject…
and that can only happen through
connection. So, more and more I want
to get as involved with my subjects so
that I can understand them, empathise
with them, and above all, care about
them. The observer role is a necessary
one when I’m in the street – maybe at
a protest or an event – but the editing
process feels far more detached, and I
think connection is what I’m really
looking for through photography.”
Despite having started his
photography with a digital camera,
Thomas has since also taken to
shooting with film, using a Mamiya TLR
which he feels enhances the sense of
involvement for both him and his
portrait subjects.
“I use both digital and analog
cameras depending on the project. My
India work was all done on a Fujifilm
X30 which was the camera my dad
bought me for my 21st birthday. I loved
it for its compactness and ease of use,
and sometimes I’m still amazed at the
photos I made with it. Now I’ve moved
on to a Sony full-frame mirrorless
camera – the colours and definition are
just breathtaking, and the sophistication
of its features gives me so much control
and I enjoy that. I use a Mamiya C330
for a lot of my portrait work. I love the
time it takes to set up a shot, the care
I need to take as to not waste the film,
and the curiosity it inspires in my
subjects, getting them excited about photo any good. I’m not one for super- present. When I’m looking through the
the photographic process.” imposing things that were never there, lens at someone who’s just told me
Post-camera editing is now rife in but I’m definitely one for making an their story or observing something I’ve
photography, but does it have any place image really pop. Go easy on the clarity never seen before, the whole world slips
in documentary photography? For slider though.” away and I’m caught in this moment of
All photographs by Thomas James Parrish, copyright 2022.

example, is it OK to enhance an image intense simplicity. Nothing else matters

if the tells a better story? Thomas
contends there’s an argument for
enhancing the impact of an image.
“I think it’s important to utilise the
progression of technology, and post-
production is a vital tool in making sure
your photos are as good as they can
possibly be. We see so much content on
news feeds that powerful photography
is at risk of being missed in the midst of
avo toasts and cat videos, you have to
make your image stand out and catch
people’s eye. You’ve still got to capture a
great image in its raw form though, and
no amount of editing can make a shit
Intense Simplicity
Above all his other objectives, Thomas
says the thing he loves most about
photography is how it puts him
unambiguously ‘in the moment’.
“Photography plants me in the
I wholeheartedly believe in the
power of meaningful photography
and its ability to influence and
make a difference, because I’ve
seen it.”
except nailing that exposure,
understanding the light, and
composing that frame. I love that
simplicity. It’s a notion that is lost in my
life everywhere else as I overthink and
overanalyse things. When I’m
photographing and telling a story, I
know I’m on the right path and I hope
my photographs can act as an
instrument for positive social change.”
If you would like to buy a copy of
Oh India, go to www.thomasjames
parrish.com/oh-india.

37
 A PROPHOTO MAGAZINE & C.R. KENNEDY & COMPANY PROMOTION
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38
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Phase One, Pentax, Ricoh, Hasselblad, Ilford, Profoto, DJI, Bowens,
Barber Shop, Cokin, Hähnel, Harman, Hoya, Lomography, BlackRapid,
HPRC, Kenko, Kowa, LensBaby, Minox, Metz, ONA, Paterson, Rotolight,
Red Wing, Tamrac, Tokina, Toshiba, Slik, SLR Magic, Studio Assets,
Vanguard, Vixen, Western Digital, X-Rite, Zeiss, Zhiyun and .ZILR.
HDMI, USB-C and Ethernet ports along with
WiFi, giving a choice of tethering and powering
options. There’s an 8.1 cm TFT LCD touchscreen
monitor, and a sensor-based electronic shutter.
Capture One image processing is built
into the IQ4 backs to delivers enhanced RAW
file workflow management with editing and
processing functions controlled within the
capture back. It also gives an improved preview
quality, in-camera JPEG processing, ‘IIQ Styles’
implementation and various functions includ-
ing time-lapse shooting, HDR capture and an
exposure calculator for long exposure. There’s
a range of powerful focusing tools, including
Focus Trim, Hyperfocal Point Calculation and
Focus Stack Calculator.
The IQ4 capture backs are optimised for
Phase One’s XF SLR camera body which is a
fully upgradable platform to accommodate
future technological advances. Full integration
between body and back allows features such
as ‘XF Powershare’ which enables the hot swap-
ping of either the camera battery or the back’s
battery. The XF camera is ruggedly built – Phase
One backs it with a five year warranty – and
features interchangeable viewfinders, while the
system is built on high-performance Schneider
Kreuznach leaf shutter lenses which are able to
optically match the capture resolution.
Phase One XF IQ4 150 –
The Highlights
• Rugged XF camera body with inter-
changeable finders
• Future proof Infinity Platform
• Full frame medium format sensor with
53.7x40.4 mm imaging area
• 151 megapixels resolution giving an
image size of 14,204x10,652 pixels
• BSI CMOS sensor with ISO 50 to 25,600
sensitivity range (colour)
• 16-bit RAW capture
• Dual memory card slots for CFexpress
Type B/XQD and SD
• Touch screen user interface
• Customisable workflow with three cus-
tom presets
• Powerful focus and analysis tools
• Built-in Profoto Air flash system control
from the camera
39
 A PROPHOTO MAGAZINE & C.R. KENNEDY & COMPANY PROMOTION
SIGMA AND THE ART OF
MAKING FINE LENSES
Sigma continues to expand its line-up of high-performance
Art series lenses – both primes and zooms – to realise the
full image quality potential of high-resolution sensors with
both still photography and video recording.
Sigma’s DG DN lenses for full frame
mirrorless cameras are specifically
designed to exploit the optical and
mechanical design advantages of
the configuration’s short flange back
Sigma I Series Lenses
Combine High
Performance And
Compact Designs
Sigma’s compact I series premium primes
lenses are designed to complement the more
compact and lightweight full frame mirrorless
camera bodies. As with all Sigma optical
products, the I series lenses are designed and
manufactured in Japan.
There are now seven I series models, start-
ing with a 20mm f/2.0 ultra-wide prime. The
rest of the line-up comprises a 24mm f/2.0,
a 24mm f/3.5, a 35mm f/2.0, a 45mm f/2.8, a
65mm f/2.0 and a 90mm f/2.8. All are designat-
ed ‘Contemporary’ in Sigma’s organisation of its
lens lines. The Contemporary line lenses feature
compact designs with the latest technologies
and superior optical performance.
Common to all the I series lenses are
40
Sigma 20mm f/2.0 DG DN
Contemporary
Weighing in at just 370
grams and measuring
only 72.4 millimetres
in length, the 20mm
f/2.0 combines a bright
maximum aperture
with an ultra-wide
94.5 degrees angle-of-
view. Consequently,
it’s well suited to a range of applications
including landscapes, wide-angle portraits,
weddings and interiors. It is particularly useful
for astrophotography thanks to its very well-
controlled sagittal coma flare. The 13-element
optical design includes three high-precision
glass-moulded aspherical type, one SLD type
and one FLD type to effectively control a range
of optical aberrations.
Sigma 24mm f/2.0 DG DN
Contemporary
A fast maximum
aperture of f/2.0 gives
a shallower depth-of-
field and allows for
more creative scope
with selective focusing.
The 13-element optical
design employs two
SLD and one FLD
special types to effectively reduce chromatic
distance. All these lenses are currently aberrations and optimise sharpness. It also has
two high-precision glass-moulded aspherical
available in the Sony FE mount and the
elements to optimise the uniformity of
L mount (for the Leica SL series, the sharpness across the frame.
Panasonic Lumix S series, and the Sigma
fp and fp L mirrorless camera bodies). Sigma 24mm f/3.5 DG DN
Contemporary
This extremely
durable metal barrel constructions – similar in compact wide-angle
standard to Sigma’s heavy-duty cine lenses – prime has an optical
with weather sealing. The focusing rings, aper-
ture collars and lens hoods feature a knurled
construction comprising
ten elements in eight
finish for enhanced grip, and special finishes groups which includes
are applied to the exteriors to create a luxuri- one element with super
ous look and texture. A further touch of quality low-dispersion (SLD)
is provided by metal lens caps which clip to characteristics. It also includes three high-
the lens magnetically for speed attaching and precision glass-moulded aspherical elements
detaching. to optimise corner-to-corner sharpness. A
The provision of an aperture collar is very short minimum focus distance of around
designed to enhance useability and they have 10.8 centimetres gives a useful maximum
been engineered to give a precise definite reproduction ratio of 1:2.
action. The optical designs make the most of
the size reductions and performance enhance- Sigma 35mm f/2.0 DG DN
ments that are possible thanks to the shorter Contemporary
flange back distance of mirrorless cameras The optical construction
compared to DSLRs. Optical performance is comprises ten elements
also optimised through the use of the latest in nine groups which
design and manufacturing techniques for includes one SLD type,
aspherical lenses. Autofocusing is performed three high-precision
via stepper motors to ensure fast, smooth and glass-moulded aspherical
near-silent operation. types and elements with
 A PROPHOTO MAGAZINE & C.R. KENNEDY & COMPANY PROMOTION

a high refractive index. Collectively, these the impression of depth in an image, via the aberrations, as well as astigmatism.
special elements correct for axial chromatic linearly smooth renditions of the foreground
aberrations, spherical aberrations, sagittal and background areas. Sigma 90mm f/2.8 DG DN
coma and field curvature, ensuring exceptional Contemporary
optical performance even when shooting at Sigma 65mm f/2.0 DG DN The 90mm focal length
the maximum aperture of f/2.0. Contemporary is a classic, suitable
The short telephoto focal for a wide variety of
Sigma 45mm f/2.8 DG DN length and fast maximum applications including
Contemporary aperture provide plenty of portraiture. In this
The optical design of this scope to utilise selective compact lens, it’s
compact standard prime focusing for creative effect. combined with a bright
creates exceptionally The optical constructions maximum aperture of f/2.8
smooth bokeh effects. employs 12 elements in and a useful minimum
Spherical aberration is nine groups, including focusing distance of just 50 centimetres. The
effectively minimised one SLD glass type to optical construction is designed to provide a
to ensure a gentle effectively minimise axial chromatic aberrations very high level of correction while optimising
transition from the in-focus areas to the soft and two glass-moulded aspherical types sharpness across the frame.
blur of the out-of-focus effects. This enhances to correct for both spherical and comatic

The Zeiss Batis 25mm f2.0 wide-angle lens’s

optical construction comprises ten elements in
eight groups. This includes four double-sided
aspherical elements and five made from special
types of optical glass to ensure a consistently
high image quality across the whole image
field and a sharpness that extends right to the
corners of the frame.
The Zeiss Batis 40mm f2.0 CF is a lightweight
design with exceptional close-up focusing per-

BEST IN CLASS formance (‘CF’ stands for ‘Close Focusing’). The

minimum focusing distance of 24 centimetres
delivers a useful magnification reproduction
Zeiss Batis Prime Lenses ratio of 1:3.3. The nine-element construction
includes aspherical and low dispersion types
Are these the best prime lenses on the planet for D-SLRs or (including one which is both) to provide effec-
tive correction for distortion and optical aberra-
mirrorless cameras with full-35mm size sensors? Many glowing tions. Weighing just 361 grams, the 40mm f2.0
reviews and a large collection of design awards say ‘yes’. CF perfectly complements the compact Sony A

D
esigned to deliver exceptional im-
age quality with Sony’s full-35mm
format E-mount mirrorless cameras
– including the 43.6 megapixels A7R
III – Zeiss’s Batis series lenses now comprises
five models from an 18mm f2.8 ultra-wide to
a 135mm f2.8 medium telephoto. A recent
addition to the range is the 40mm f2.0 CF, an
all-purpose lens that offers outstanding imag-
ing quality.
These lenses make optimal use of the cam-
era sensors, capturing every last detail with
impressive contrast and high resolution. As
well as offering fast and reliable autofocusing
via linear motors, the Batis lenses also support
manual focusing, allowing users to choose the
best option for each individual situation. The
sleek and modern external styling with smooth
surfaces emphasises the superior quality of this
lens family and gives each model an unmistak-
able look and feel. More practically, the barrels
are sealed against the intrusion of dust or mois-
ture, allowing the Batis lenses to be used in bad
weather or extreme environments.
A unique feature is an OLED-type dis-
play which provides a digital read-out of the
focusing distance. Easy to read even in low
light, these displays show the exact distance
between the camera and the focal plane as
well as the depth-of-field. The Batis lenses have
a ‘floating element’ optical design which com-
pensates for aberrations at different distance
settings. They also all employ Zeiss’s advanced
T* anti-reflective multi-coating to effectively
minimise ghosting and flare.
The Zeiss Batis 18mm f2.8 ultra-wide gives
a diagonal angle-of-view of 99 degrees, and its
Distagon retrofocus optical design employs 11
elements in ten groups, including four aspheri-
cal types and five with anomalous partial dis-
persion characteristics. These special elements
ensure a high level of correction for distortion
and the effective correction of optical aberra-
tions, making this lens ideally suited to applica-
tions such as landscape, astrophotography and
architectural photography.
series mirrorless camera bodies.
The Zeiss Batis 85mm f1.8 short telephoto
has an 11-element optical construction in the
Zeiss Sonnar design. These elements are made
from various types of special glass designed to
deliver superior image quality, including a high
level of correction for chromatic aberrations.
This model incorporates optical image stabilisa-
tion to enable hand-held shooting in a wider
selection of lighting situations.
The Zeiss Batis 135mm f2.8 employs an
Apo-Sonnar optical design employing 14 ele-
ments in 11 groups – including eight with
anomalous partial dispersion characteristics
– to give a very high level of correction for
chromatic aberrations. It incorporates optical
image stabilisation to give extended low-light
shooting capabilities without the need to resort
to higher ISO settings. Its minimum focusing
distance of 87 centimetres gives a maximum
reproduction ratio of 1:5.3. The shallow depth-
of-field obtained at f2.8 with this focal length
provides increased scope for exploiting the
creativity of selective focusing.

41
 A PROPHOTO MAGAZINE & C.R. KENNEDY & COMPANY PROMOTION
PROFOTO –
TRAVELLING LIGHTS
Profoto B10X & B10X Plus
As the lighting requirements of photographers have
changed over the last decade or so, Profoto has changed
with them, evolving into the world’s leading maker of
portable lighting solutions… and the most innovative.
W
hile professional flash lighting Profoto has been at the forefront of this change,
was once traditionally studio creating products that provide the flexibility
based, the emphasis has now and creativity of professional flash lighting
switched to more portable, in ever more compact and capable portable
battery-powered systems that can be used any- systems, including on-camera speedlights
where at any time. Swedish flash manufacturer and even a system for use with smartphones.
Back in 2014, Profoto revolutionised flash
photography when it launched the world’s first
battery-powered flash monobloc with TTL auto-
matic exposure control, providing new levels of
convenience and performance.
In the intervening years it has gone on to
refine the concept and the latest generation
of models are the B10X and B10X Plus which
feature new designs with easier operation, and
recognise that many more photographers now
need lighting sources for both photography
and videography. Both the B10X models are
portable and multi-purpose, providing both
flash and continuous lighting. Both are also fully
compatible with Profoto’s OCF – Off Camera
Flash – system light-shaping accessories which
further enhance the creative possibilities when
shooting on location. Currently, the OCF range
runs to over 120 lighting tools.
The B10X models also compatible the
Profoto AirTTL remote triggers which are avail-
42
able for Canon, Nikon, Fujifilm, Olympus and
Sony cameras. Additionally, both models can
be wirelessly controlled from a smartphone via
Profoto’s AirX Bluetooth connectivity and using
the Profoto iPhone app (which can also be used
for firmware upgrades).
The B10X has a maximum flash output of up
250 joules with a power adjustment range of
ten stops. Flash recycle times range from 0.05
to 1.3 seconds. Up to 400 full-power flashes
can be delivered from the lithium-ion battery
pack and recharging takes only 90 minutes.
Continuous lighting is provided by an LED
source (which also serves as the modelling
lamp) and the maximum brightness has been
increased to 3250 lumens with a running dura-
tion of 65 minutes. The brightness is adjustable,
as is the colour temperature which has a range
of 3000 to 6500 degrees Kelvin to enable closer
matching with the ambient lighting. The B10X
Plus has same continuous lighting capabilities,
but its maximum flash output is 500 joules,
again adjustable over a ten-stop range. Recycle
times vary from 0.05 to 2.2 seconds, and the
battery pack allows for up to 200 full-power
flashes.
Common to both models are TTL auto
exposure control, HSS high-speed sync at up
to 1/8000 second and USB-C connections to
allow for in-unit battery charging. Dimensions
are similar to those of the typical 70-200mm
f/2.8 zoom. The B10X weighs 1.5 kilograms with
the battery and the B10X Plus – which is a little
larger – weighs 1.9 kilograms.
Profoto B10X & B10X Plus
The Highlights
• Extremely compact and lightweight
design
• B10X Plus has 500 joules flash power
– equivalent to ten on-camera speed-
lights
• B10X has a 200 joules flash power
– equivalent to five on-camera speed-
lights
• Ten-stop stepless flash power adjust-
ment range
• Flash recycling times of 0.05 to 1.3 sec-
onds for B10X, 0.05 to 2.2 seconds for
the B10X Plus.
• LED continuous light source of up to
3250 lumens brightness
• Adjustable brightness and colour tem-
perature with continuous lighting
• 400 full-power flashes from a battery
charge for B10X (200 for B10X Plus)
• Compatible with 120+ light-shaping
tools from the Profoto system
• Compatible with all Profoto TTLAir
remotes, and the A1 series on-camera
flashes
• Built-in AirX Bluetooth wireless con-
nectivity
 A PROPHOTO MAGAZINE & C.R. KENNEDY & COMPANY PROMOTION
PACK LIGHT WITH THE PROFOTO A2
S
imilar in size to a soft drinks can, the
Profoto A2 is not only very compact,
but can output up to 100 joules of flash
power and has a built-in LED modelling
light. It can also be fitted with range of light-
shaping tools from Profoto’s Clic system,
including softboxes, grids and
gels. The more extensive OCF
system of accessories can
be used via an adapter ring.
However, the Clic acces-
sories use a magnetic ring
for quick and easy fitting and
detachment. The A2 can be
used handheld, but also has the
traditional coupling for mounting on a
light stand.
Weighing just 773 grams with its bat-
tery and the standard adapter fitted, the
A2 is 12.6 centimetres in length and
ILFORD – QUALITY AND
INNOVATION IN PHOTO PRINTING
Since its inception in 1879, Ilford has been a name
associated with photography. Today it continues to be
associated with cutting edge imaging technology in
digital photo printing products.
Ilford Galerie Washi Papers For Fine-Art Photography
W
ith its long history in the
reproduction of photographic
images, Ilford is continually
striving to create new products
to enhance their presentation. The Galerie
range of photo inkjet media combines state-
of-the-art inkjet technology with more than
a century of experience in the craft of photo-
graphic image-making to provide a range of
products that match the aspirations and needs
of professional photographers the world over.
The Galerie portfolio of Washi-based papers
provides photographers with even more scope
for creative expression.
These are fine-art papers with a traditional
hand-made Japanese Washi base and a fine
textured surface. The base – which is produced
exclusively for Ilford in Japan – is manufactured
using a traditional Japanese techniques and
comprises 60 percent hemp and 40 percent
mulberry bark (kozo) for strength. The Washi
base is made in the Echizen prefecture of
Japan which is famous for the production of
traditional Japanese paper with a history span-
ning over 1500 years in paper production. It
has a diameter of 7.9 centimetres. It’s powered
by rechargeable lithium-ion battery pack that’s
claimed to be good for 400 full-power flashes.
The flash power output can be adjusted over ten
stops, and the LED modelling lamp is dimmable.
With Profoto’s AirX Bluetooth wire-
less connectivity built-in, the A2
can be remotely controlled
via a smartphone or tablet
(using the Profoto Control
app) and easily integrated
into a set-up using other
Profoto A series or B series
lights. Alternatively, you can
use the Air Remote TTL control-
lers which mount on the camera’s hot-
shoe and are available for to integrate
with the TTL auto flash exposure control
systems of Canon, Nikon, Sony, Fujifilm
and Olympus/Panasonic cameras.
is an acid-free media with no added optical
brighteners so it is particularly suited to fine-art
photographic reproduction.
The Tesuki-Washi Echizen range has been
expanded to include both 110 gsm and 90 gsm
weights and a variety of surfaces. Tesuki-Washi
Echizen 110 and Tesuki-Washi Echizen 90 are
traditional matte papers with a unique hand-
made textured surface. They feature an original
Ilford inkjet coating recipe which creates a final
print with exceptional clarity and depth, in both
colour and B&W. Tesuki-Washi Echizen Pearl 110
has a unique ‘pearlescent’ finish which allows
for the creation of brilliant inkjet prints with a
natural hand-made texture and shimmer.
The Tesuki-Washi Echizen Smooth paper
is also available in the 90 gsm and 110 gsm
weights, and have smooth textured surface.
The Tesuki-Washi Echizen Warmtone papers
have a slightly warmer tone and are available in
a choice of 90 gsm and 110 gsm weighs with
traditionally textured surface or with a smooth
textured surface.
With all the Tesuki-Washi Echizen papers, the
A1+ format sheets feature deckled edges on
Profoto A2
The Highlights
• Portable and powerful
• 100 joules of flash power
• Ten-stop flash power adjustment range
• Flash recycling times of 0.1 to 1.6 sec-
onds
• LED modelling lamp
• 400 full-power flashes from a battery
charge
• Clic system light shaping tools easily
fitted via a magnetic mount
• All Profoto OCF light shaping tools sup-
ported via an adapter
• Compatible with all Profoto TTLAir
remotes
• Built-in AirX Bluetooth wireless con-
nectivity
• USB-C connection
all sides and this feature is also available in the
A3+ size as well. These papers are also available
in the 4x6-inch, A4, A3+ and A2 sheet sizes.
Ilford’s Galerie Washi Torinoko is also a fine-
art paper with a traditional Japanese washi
base and a fine textured surface. The base is
manufactured using a traditional Japanese
Tanmo machine which produces a paper that’s
so refined it looks as if it has been made by
hand. The Washi base is an acid-free material
with no added optical brighteners so it’s an
ideal archival media for fine-art photography
projects.
Galerie Washi Torinoko has a unique Ilford
inkjet coating which yields a final print with a
wide colour gamut and excellent colour con-
sistency. It’s available in 24- and 44-inch wide
paper rolls and in the A4, A3+ and A2 sheet
sizes plus the 8.5x11.0 cm and 17x22 cm sizes.
43
 PROFILE
ANTHONY GORDON

STORY TIME
Anthony Gordon And Nothin’ But Shorts International
Entirely self-taught, filmmaker Anthony Gordon has built a successful production
company that’s prepared to go to the ends of the earth in order to tell a good story.
It’s often a challenge for him, his crew and his equipment.
Interview by Paul Burrows.

ilmmaker Anthony Gordon was
studying for a degree in
psychology when he decided to
make a dramatic career change
and pursue his love of the
visual image. However, his deeper
understanding of what makes people tick has
undoubtedly helped him in his ability to tell
their stories through film.
“It all started back in the 1980s,” he explains.
“When, as a small lad, I dreamt of capturing the
images I saw in National Geographic magazine,
though little did I know that one day – many
years later – I would be doing just that.
“It was a matter of begging, borrowing and
stealing what knowledge and equipment I
could so that I could capture stories through
a lens. I am totally self-taught and I’ve never
taken any courses in filmmaking.”
Anthony is unsure where his visual
awareness comes from, but his grandfather
was both an artist and a scientist, so he
suspects it might be in his genes.
“I have always been fascinated in the natural
world and, in particular, people. It is the stories
and narrative that people of all race, religions
and creeds that fuels my creativity. The imagery
that goes with it is simply the icing on the cake.
“From a visual point of view, I have never
really had any real influences either as I have
always, for some reason, been driven by my
own ideology and style. That said, I have always
taken note of different interview styles from
Michael Parkinson back in the day to a range of
current TV hosts. Interview techniques are more
important than f-stops.”
Today, Anthony Gordon is the driving force
behind Nothin’ But Shorts International, an
Australian-based film production company
that specialises in – as he puts it simply –
“telling stories”.
“Taking an idea and transforming it into a
form that pleases the eye and excites the mind
is the driving force behind my philosophy.
We’re about looking at a concept and then
developing a unique way of presenting it. I am
genuinely intrigued and interested in the
stories I tell. My goal is to share that wonder

44
 PROFILE
ANTHONY GORDON

and discovery with the audience.”

Perhaps not surprisingly, in light of
his core philosophy, Anthony places a
lot more emphasis on the creative than
the technical.
“My greatest passion is people.
Everyone has a story to tell and, over
the last 25 years, I’ve really been
dedicated to developing these stories
into lessons… and inspirations for
others. I like to say that my goal is to
change the world one story at a time.
“99% of my work now is filmmaking,
but I still wonder at the power of the
still image. So I’d say that photography
is a passion and filmmaking is my life.”

Taking Time
With no two assignments ever the
same, Anthony has learned to be
very flexible, open to challenges and
willing to do whatever it takes to create
compelling and memorable vision.
“There are no seven days a week
or 24 hours in a day for me. I’ve just
returned from shooting for Haute Route
(Ironman) in the French Alps and there
were multiple days of 11.00pm starts
through to 11.00pm the following day.
If you allow the time and your hotel
bookings to dictate your narrative, then
you will never achieve much. From my
experience the best stories never
happen between nine to five.
“What motivates me to get out of
bed in the morning? Quite simply, I
am never satisfied with what I have
captured and always exploring to find
new and exciting stories. That is an
incredible driver.
“Aside from that, I have a wonderful mon themes, he says that physical
young family and the joy in their eyes challenges aren’t something that
when I return from a job means that, particularly motivates him.
even if I am exhausted, I still bounce up “It just so happens that I have always
every morning.” had a passion for the outdoors and, at
While a look through Anthony’s vast some stage my passion for storytelling
catalogue of productions suggest that through a lens, got driven towards this
sports, action and adventure are com- genre. Once you’re on that path and
All photographs by Anthony Gordon, copyright 2022.

deliver quality work for your clients,

then it seems to open the flood gates.
Over the years I have become a remote
area and adventure specialist more by
necessity than anything else.
It is the stories and “But what it does mean is that, as I
narrative that people get older, I need to keep fitter and work
on myself as much as my equipment.
of all race, religions I do, however, find that adventure and
and creeds that fuels physical activities bring out the most
extraordinary stories in people that
my creativity. The cross over to all walks of life.”
imagery that goes
Meeting The Challenges
with it is simply the So, given the kind of assignments
icing on the cake.” that he is often asked to tackle, how

45
 PROFILE
ANTHONY GORDON

“Reliability and consistency are

number one. For this reason, I have
used and tested thousands of variables
in relation to my kit to make storytelling
in remote and fast-changing
environments as efficient as possible
while still delivering top quality.”
On the audio side, Anthony has
settled on Zoom products both for their
performance and their reliability.
“On virtually every shoot I use the
Zoom F1 recorder and, lately, also the
very compact F2 for more on-athlete
and subject audio situations. The 32-bit
tech is insanely good and 100%
reliable. I have also been using the
multi-channel Zoom H8 for recording
quite a few on-location podcasts with
Zoom external microphones.
“The most effective approach to any
story, whether it be film, video or any
form of motion… sound always drives
the vision. Get the sound right and
you’re 80% of the way there.
“I use the Canon EOS-1D X Mark
II and III for all my filming. To those
that say you cannot make films with
a DSLR… well, I have over 39 films on
Amazon Prime and circulating globally
that are all shot on Canon DSLRs. I use a
range of Canon prime lenses, although
the majority of my shooting is on the
100-400mm zoom. In addition, I have a

important is physical and mental multi-tasking challenges. The best way

fitness? is just to do it… and keep doing it. Limit
“Mental conditioning is paramount,” the mistakes, as they will come, and
he states. ”There is no real way to pre- surround yourself with the best people
pare yourself for long, challenging days and the most bomb-proof equipment.
with little sleep and the ultimate of “Physically, I train by swimming laps
in pools, scuba diving and long walks
with weighted packs. I prefer
environmental conditioning and being
active in the environment to simulate
situations rain, hail or shine.”
Cameras and If Anthony and his crews train to
cope with the demands on their bodies
smartphone – no and minds, what about the equipment
matter how capable they use?
“To be honest, the equipment is
– don’t tell good not as important as all the marketing
stories unless they you read might suggest. What’s really
important in these situations is having
are attached to good minimal kit that suits a purpose and is
storytellers.” exceptionally reliable.

46
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series of Aquatech water housings, a few GoPro
Hero 9s and a number of DJI camera drones.”
Focus On Creativity
Today’s technologies have made so much more
possible in both photography and filmmaking,
but there still needs to be a balance between
creative input and technical aspects. Anthony
contends that he really isn’t interested in the
latter beyond that it allows him to concentrate
fully on the former.
“After so many years of making people-
based stories, I have a very clear methodology.
The best form of preparation, I think, is having
very little actual factual knowledge. I like to
discover the subject from when we start
recording. This also brings a level of legitimacy
and interest that is appreciated by the subjects.
48
“So, for me, I base zero requirements on the
technical aspects. The Zoom kit, for example,
works reliably 100% of the time, so I can focus
on the creative input and focus on the subject.
Unless you focus on the subject 100%, they
know and you’ll often miss the best content
and context.”
With smartphones and consumer-level
digital cameras all capable of shooting video
at high quality – and with so much stuff being
continually posted online – how does the
professional stand out from the crowd?
“Well, cameras and smartphone – no matter
how capable – don’t tell good stories unless
they are attached to good storytellers. Yeah,
they may make the capture more foolproof and
allow everyone to access the tech to shoot and
edit effectively, though a good story with the
right components and attributes takes more
than just the kit.“I spend a great deal of my days
either re-shooting or re-editing other people’s
content that has used the accessible tech, but
hasn’t used it in the right manner to get the
story or message told.“For me, almost everyone
can most likely create better short-form content
of a minute or less for social media. Where I
have stood out is with medium- and long-form
content that is driven by the short-form. This, to
me, is the real art of storytelling.”
To see more of Anthony Gordon’s work, visit
https://nothinbutshorts.com.au. For more
information about Zoom digital audio
equipment visit www.dynamicmusic.com.au.
 A FEW OF MY FAVOURITE THINGS
Anthony Browell
What do professional photographers get up to when they’re not behind the camera?
In this occasional series, we take a look at the personal side of a photographer’s life as
expressed through some of things they value the most. In this issue, Anthony Browell
shows off everything from a pencil to a paddle steamer. As told to Bruce Usher.

“I’m into all simple things that I know how
they work. They don’t possess any technology.
My favourite area in Australia is the inland
rivers… the Murray and Darling rivers. I was 24
when I emigrated to Sydney in 1969. Sydney
was where I could work. I had been doing
freelance editorial work in London. I came out
with a portfolio of black-and-white reportage
from The Times. I went to advertising agencies
and they said, ‘Gee this is great work! Can you
photography this Sunbeam iron for me?’ It
was crazy still-life stuff, that I didn’t have a clue
about, so I had to learn fast. I did this for about
eight years, but I always still did as much black-
and-white reportage for magazines such as
POL and Vogue Living and others magazines…
always a 50:50 arrangement. I made my money
from advertising and had fun on the editorial.”
The Raft
“I remember lying on the lawn at
[photographer] Graham McCarter’s place in
Balmain in the early 1970s and thinking, ‘There’s
got to be more to life than what’s happening
now’. So I had an idea to go around Australia on
a raft and that morphed into the more sensible
idea of going down the Darling River from
Burke on a raft.
“A month later we were on the Darling on
a raft driven by steam, a paddle steamer. We
spent the best part of three months going
down the Darling from Burke to Wentworth
where it meets the Murray. It was a 1,200-mile

50

journey and we were the first vessel in
50 years to do it. There were seven of us.
Grenville Turner and I built it in about
three weeks. The river was in flood and
we had a mutiny on the way, but it
fostered my love of the inland rivers and
the paddle steamers of the past. Then I
built the Emmylou.”
Emmylou
“After that journey, I was fascinated by
the history of the inland river trade and
how, for 30 years, the paddle steamers
towed barges full of wool down the
rivers, and goods and supplies up to
the inland towns before the railway
network came in the late 1920s. These
rugged steamboats were built in the
bush, as were the barges… it was
Australian ingenuity at its best.
“In 1980 I decided to build a replica
of one of these steamers. I envisaged
the P.S. Emmylou – named after the
singer Emmylou Harris – operating as
a wood-fired steam-driven overnighter
from Echuca on the Murray. We built
her in two years in the bush, and she
had a 1906 Marshall steam engine. We
operated her for two years before I
sold her, but she’s still steaming up and
down the Murray on three-day cruises
today. While the coastal history of
Australia is colonially inspired, the inland
development is based on necessity,
which is a far more interesting concept.”
The 2B Pencil
“I’ve always loved drawing, but I turned
to photography because my father was
an amateur photographer. He grew up
in the days when photography was one
of those trades that was not available to
gentlemen. His father wanted him to go
into the army, but when he emigrated
to Adelaide he became a photographer.
“I was fascinated by all this
photography and his darkroom and
when I left school early – as I wasn’t
academically involved – I went to
Brighton Art College and was taught
to draw by a cartoonist from Punch.
From then on, I drew as well as
photographed. I drew with ink and a
twig for a long time. I’d go into the bush
and pick up a twig and dip it in the
ink… it’s unpredictable. It’s like pinhole
photography – you quite never know
what you’re going to get. I use a 2B
pencil nearly all the time. I’m not good
enough to use ink. You have to be very
exacting with ink and it’s not quite so
forgiving as pencil.”
The Tug
Anthony Browell “I used to play around on Sydney
photographed Harbour in small wooden boats or
at his home in launches, but then I wanted something
Sydney by bigger… a tug. Jan and I decided to
Bruce Usher. have a look for a weekender on the
Copyright 2022.
Hawkesbury River, so we went up on
the postman’s ferry and, around the
back of Brooklyn, I spotted an old tug
called the Valiant Star. It was a wreck
except for its wonderful engine and
I bought it for $12,000, got it back
to Sydney Harbour and spent three
months doing it up.
“Then I had photographers’ lunches
on it. I used to handwrite the invitations
and post them to photographers and
a few artists. You had to come with
a bottle of wine in one pocket and
a little unframed print in the other
pocket. It was all about ideas! We used
to sit around a round table and have
a meal… David Potts did the pudding
and Roger Scott the main course. I
would do some prawns and this went
on for eight years until I sold the tug.”
The Pin Hole Camera
My Mark 4 pinhole camera works
with a 12x10-inch dark slide and has
a reversible depth-of-field lens which
is a piece of a Coke can with a hole in
it from both sides so you don’t get an
edge. I bought a whole lot of dark slides
– I’m pretty sure from John Street in
Melbourne – and this made it so much
easier to go on location with it. This is
a 100% dutiful, operating camera… a
marvellous thing.”
The Grand Piano
“I’ve had my grand piano since 1976.
I took lessons and I thought, ‘My God,
this is going well’. It was the same year
I started the ACP Workshop [Australian
Centre For Photography] and, after an
evening class, we went back to my
place for a drink and I start playing the
piano. I thought, ‘This is great, there’s
people here and I’m playing the piano’.
Then one of the students comes over
to the piano and asked, ‘Can anybody
else play the piano?’ That put me off for
another five years. Now I have decided
I won’t learn to play the piano, and this
is why I enjoy asking other musicians to
the play my piano.
“I go to a thing called Rising Stars at
the Sydney Conservatorium Of Music
which is for young kids – child Prodigies
– aged from nine to 15, and we have
fundraising nights when they come and
play. We can raise $2,000 in an evening
which, for example, will pay for a young
musician’s airfare.
“I go to the ACO [Australian
Chamber Orchestra] concerts and, in
2015, it was artistic director Richard
Tognetti’s 25th anniversary and the
orchestra’s 40th anniversary, so I
thought we should celebrate this
with a book. It happened and I spent
around seven months, on and off,
with the photography, the design, and
the production. ABC Classic’s Margaret
Throsby wrote the text.”
Mystery
“Mystery. In life it’s most important. I
put mystery into my photographs. I
hold something in front of the camera
or I photograph in a strange way or
I layer it with another glass image
over it. Photography is so realistic,
but who needs that! In your personal
photography, you are dealing with
imagery not information… a big
difference. I do this because I can’t stand
it looking boring.”
51
 Bonnie Cee on the set of award
winning TV series, Casino Beach

FROM PHOTOGRAPHER
TO FILMMAKER
Bonnie Cee’s Beautifully Unconventional Career
Canon Ambassador Bonnie Cee wears many hats: professional stills shooter, founder of the
innovative Colourtone app, and creator of short films and a TV series called Casino Beach for which
she recently won a Silver Award in the Drama Series Category for the pilot at the QLD Australian
Cinematography Awards. But her journey to commercial and creative success in the photo and
film industries has been anything but conventional. Here she discusses how she self-taught, self-
propelled and self-funded her way from florist to filmmaker.
52
 PROFILE
A CANON AUSTRALIA AND PROPHOTO & VIDEO MAGAZINE PROMOTION

s is often the case

with modern image-
makers, Bonnie Cee’s
path to becoming a
photographer and
filmmaker was some-
what winding. Her creative inclinations
led her to explore a variety of different
avenues, including floristry and textile
design, before fate placed a camera in
her hands.
It was 2008 and she was travelling in
Europe with a friend who had a DSLR.
“Everything in front of me was just so
visually beautiful. My friend lent me his
DSLR and as soon as I touched it and
tried it, I realised ‘this is it’.”
Consumed by her new passion,
Bonnie started spending as much time
as possible reading photography books
and magazines to satiate her thirst for
knowledge.
“Finally, I asked my mum to help me
buy a camera and some lights, because
I knew this was my calling. I really want-
ed to create.”
Hungry for experience, Bonnie then
took a job in a photography studio
where she sold packages and absorbed
as much as she could.
“And I just started shooting what-
ever I could in my spare time. I read
the camera manual twice so I knew
exactly what everything did and how
everything worked. And then, with the
help of the magazines, I learned about
the essentials, like ISO and aperture and
shutter speed.”
More importantly, Bonnie put
theory into practice whenever possible, Bonnie Cee on years at the label, I went freelance to selling their presets, her idea was to
photographing anything and anyone the set of inter- pursue exciting projects as a commer- bring Lightroom-style preset packs to
she could, from portraits of her dogs national award cial fashion photographer.” smartphone shooters. It may sound
and friends to leaves and flowers out winning short For many photographers, this might simple by today’s standards, but
in her garden. Before long, Bonnie had film, On My Way have seemed like the ultimate and pos- at the time it was nothing short of
developed the skills necessary to take sibly final career destination. But it was revolutionary.
on a job at an e-commerce fashion at this point that Bonnie made her most “Colour grading is such a big part
company, becoming the in-house pho- surprising and lucrative career move of what I love about photography and
tographer for a label called Black Milk of all. I was getting feedback from my clients
Clothing in Brisbane. and Instagram followers that they liked
“It was a big deal to me to get that Creating The the way I graded my images. Although
job and that’s where I had the most Colourtone App there were colour filter apps out there,
growth in photography. I finally had a With over five million downloads, it’s they didn’t entirely solve the issue for
reason to shoot with real models and I safe to say that Bonnie’s Colourtone everyday smartphone shooters. They
was shooting big, impactful campaigns.” app is a raging success. Inspired after weren’t simple, convenient or quick,
But Bonnie didn’t rest on her laurels spotting the trend of photographers and they didn’t offer creative autonomy.
and continued taking on extra gigs to What I was offering was a simpler way
expand her knowledge and portfolio. to take a snap on a smartphone and
She shot weddings on the weekends In today’s creative world, where edit it well without having to pay for
and personal projects in her home stu- any other software, like Lightroom or
dio. And she also took on any editorial everything is accessible online, it’s Photoshop.”
or boudoir commissions she could get easier than ever to carve out your Colourtone was also different
her teeth into. because it allowed smartphone shoot-
“I realised fashion photography was
own future without following a ers to edit their videos as well as pho-
where my passion was and, after four traditional path.” tos, while other apps only focused on

53
 PROFILE
A CANON AUSTRALIA AND PROPHOTO & VIDEO MAGAZINE PROMOTION
photos.
“It’s probably been my greatest
career surprise and greatest success.
I had no idea it would be so success-
ful. As soon as I released it, customers
flocked to the app and it’s continued to
enjoy amazing organic growth. Still to
this day, I don’t run any ads for it, and
it’s had over five million downloads. It
generates a healthy income and people
talk about it being a great app that’s
easy to use. It was a product people
wanted – easy to use, affordable, and it
just works.”
In December 2019, Bonnie added
a subscription option which gave sub-
scribers access to all 200 filters – pay-
able weekly or yearly.
“The subscription model is the rea-
son the app is generating such good
income today, because there are how-
ever many thousands of people using it
every month. And the small couple of
dollars per week or month all adds up.”
Covid, Child-Rearing And A
Filmmaking Career
If we can learn anything from Bonnie’s
fearless approach to her work, it’s that
there’s no ‘one size fits all’ route to a
fulfilling creative career. In the true spirit
of a modern-day visual artist, Bonnie
leveraged the success of her app and
commercial photography to follow her
dreams and launch a filmmaking career.
“My success with Colourtone is the
reason I have been able to pursue a
54
career in filmmaking. For a single mum
in the creative industries, it gives me
a passive income that enables me to
explore what I’m passionate about and
what I can do next with my career.”
But financial freedom wasn’t the
only motivating factor. Like so many
creators, the Covid pandemic proved to
be something of a creative catalyst for
Bonnie.
“It was during the first lockdown
that I decided to pivot into filmmaking.
I was going so hard into the fashion
photography realm. I absolutely loved
it and hadn’t experienced any burn-out
or anything. But in the middle of it all
I had a baby and my mind-set shifted.
My life priorities changed and I saw an
opportunity for my professional life to
change as well.”
While interning on a film set, a direc-
tor of photography told Bonnie that
the only way to climb the ladder would
be to work in a camera department for
30 years and then take on every job
and work her way up from the bottom.
However, in classic Bonnie style, she
decided she wasn’t willing to settle for
12-hour days and minimum wage “…
just to see what might happen”.
“I thought, if I want to make this
work, I absolutely have to do it in an
untraditional way and prove myself in
my own way. I realised I’d have to do it
myself and pay for it myself. It was the
same when I got into photography.
You’re not going to get hired to shoot
a wedding or shoot fashion until you’ve
done it and you can say, ‘Here’s what I
can do’.”
And that’s what Bonnie did. Having
made her decision and committed to
her pivot into filmmaker, she shot two
short films called, Run With Me and
Unseen, with the objective of honing
her craft and demonstrating what she
could do.
“I know I’m taking an unconvention-
al route in the film industry, and that
there might be a backlash. I fully expect
people to laugh in my face. But in
today’s creative world, where everything
is accessible online, it’s easier than ever
to carve out your own future without
following a traditional path.”
Bonnie’s efforts paid off and led
to a collaboration with a writer with
whom she developed and shot the pilot
episode of Casino Beach, which will be
extended to an eight-episode season.
“It was inspired by a couple of young
adult drama shows on TV called Outer
Banks, and Into The Blue… lots of mys-
tery, lots of adventure. I spoke to the
Filming writer who wrote my first short film and
Casino Beach told her I envisioned it as a series, which
was quite ambitious for someone so
inexperienced in the industry. And she
said, ‘Sure, let’s give it a crack!’.”
It was a big commitment to make,
both creatively and financially, but
Bonnie believed in her project and
remained focussed on her vision.
“I’m reaching for the stars with this
project. I have completely self-funded
it and self-produced it, because it just
wouldn’t have been made otherwise.

It’s very much a passion project of
mine. And the feedback has been great
– everyone involved says the script is
solid and the production quality is high.
So I’m hopeful we’ll have enough inter-
est in a full season to take it to the next
step.”
Once Bonnie has finished the
final cut, she will take her pitch bible
through the traditional routes to seek
funding from the screen industry.
“I’ve got a few small leads, but it’s a
big task… and especially a big task for
essentially a nobody in the industry. But
I have so much trust in the pilot, and
faith that people will see it for what it
is – a great piece of Australian entertain-
ment. I’ve put my own money behind
it because I want to show production
houses what I can do. I’m all about
doing things in a non-traditional way
and making things happen. Even my
approach to marketing is odd to some,
but a no-brainer for me.”
Another of Bonnie’s short films, On
My Way, has so far received ten inter-
national short film awards, including
winning best cinematography awards
at the New York International Film
Awards, the Canadian Cinematography
Awards and the Cinematic European
Bonnie Cee Film Festival.
on set filming
She has also just released her latest
Casino Beach.
short film, titled Christmas Neeve, online
(youtube.com/@bcpictures, Instagram
@bcpictures.co and TikTok @bcpictures.
co), and it was shot on Canon cinema
cameras.
Creating With Canon
As a photographer expanding into
video, Bonnie’s confidence was boosted
as a result of her familiarity with the
gear. As a long-time Canon shooter, her
new video-centric cameras felt right at
home in her hands, making the switch
feel natural and intuitive.
“All my film and TV work is shot on
the Canon EOS C500 Mark II, the Canon
EOS C300 Mark III and the hybrid EOS
C70, paired with anamorphic lenses
from Atlas Orion.
“Right from the beginning, I felt
confident shooting with Canon cinema
I’m definitely still developing
my filmmaking style, but I have
noticed that it’s visually very
different to how I shoot my stills.”
cameras because I was already familiar
with the systems and colour science. I
know, especially with skin tones, what
is going to come out and I know where
I can get it to. Shooting Canon Raw is
also a must and I really like the reliability
and dynamic range I’m getting out of
the EOS C300 Mark III and the EOS C70.
The image isn’t noisy or unstable in the
dark. One of the other features I love
and use most is the in-built ND filters,
which allow me to shoot wide-open at
virtually any time of day at the press of
a button.”
Ultimately, having the right gear in
her hands frees Bonnie up to explore
and overcome the myriad other aspects
of filmmaking. “It gives me confi-
dence knowing exactly what I’m going
to get out of the camera as I’m shooting
with it, which leaves me free to focus on
the other elements of production that
are less familiar to me.”
Another surprise along the way has
been the shift in Bonnie’s aesthetic shift.
“I’m definitely still developing my film-
making style, but I have noticed that it’s
visually very different to how I shoot my
stills. With my swimwear and commer-
cial fashion photography, it’s all about
the glow and being beautifully lit, but
I tend to go a lot darker and lean into
shadows more with my motion work.
Obviously, something is influencing me,
but I haven’t pinpointed a specific style
or director or DP or anything. I’m just
kind of having fun.”
Bonnie’s Final Battle Cry
“No one is going to give you a job
that you haven’t done before on
a silver platter. If you want to be a
cinematographer or photographer, the
best thing you can do is start shooting
short films or spec commercials.
Showcase your skills so prospective
clients can see what you can do. This is
how you will build trust and prove that
you can bring their vision to life.”
Explore the Canon
cinema camera
range at https://
www.canon.com.
au/cinema-cameras
To find out more about Canon’s
Ambassadors including Bonnie Cee
visit: https://www.canon.com.au/get-
inspired/creators/ambassadors
To find out more about Bonnie Cee visit:
https://www.bonniecee.com/
55
 BENQ
DESIGNVUE PD3205U 4K UHD
Panel Beater
BENQ DESIGNVUE PD3205U 32-INCH
4K UHD DESIGNER MONITOR
You get a lot for your money with the PD3205U even
though it’s one of BenQ’s most affordable 4K monitors.
The feature set is tailored to both photography
and video applications as well as graphic designers.
REPORT BY Not so very long ago, buying
PAUL BURROWS a photo monitor represented
a significant investment and the
choice of models was quite limited.
Now you’re spoiled for choice mainly
due to the efforts of BenQ, LG and
Samsung.
BenQ has been particularly
targeting photographers with its
56
earlier QHD models and now various
4K resolution offerings in the most-
used screen sizes of 27 and 32
inches. The PD3205U delivers 4K and
a 32-inch screen at a very affordable
price, achieved by paring down
the feature set compared to the
PD3220U, although it still has quite
a lot in common with this model.
BenQ’s smart-looking PD3205U
32-inch 4K monitor delivers a lot
of performance for the price.
What’s gone isn’t likely to overly
worry photographers – or even video-
makers – so the PD3205U is arguably
the more tailored model for these
applications… you don’t need to pay
for features aimed at gamers, for
example.
The screen’s actual size is 31.5
inches which, with the resolution
of 3840x2160 pixels, gives a pixel
density (ppi) of 140, so fine detailing
is still easy to see at a comfortable
viewing distance. BenQ emphasises
that its DesignVue series monitors
incorporate a number of features to
help provide comfortable viewing
over longer periods of time without
creating eye fatigue. These include
a matte anti-glare screen surface,
Darkroom and Low Blue Light viewing
modes and flicker-free technology.
LCD panels actually switch on and off
 BENQ
DESIGNVUE PD3205U 4K UHD

at a very high frequency and, while

you can’t really discern this flickering,
it’s a major cause of tired eyes,
especially with long working sessions.
Additionally, the Low Blue Light mode
filters out the blue wavelengths that
particularly cause eye strain. BenQ
packages all these elements under
the ‘Eye Care’ banner.

True Colours
The PD3205U’s LED backlit IPS
display uses 10-bit processing
delivering a palette of 1.07 billion
colours, thus resulting in smoother
shading, colour transitions and tonal
gradations. The In-Plane Switching
technology gives a fast response time
of 5ms – an important spec for video-
makers in particular – and enables a
wide viewing angle of 178º.
In terms of reproducible colours,
the panel delivers 95% of the sRGB
colour space and its video equivalent,
Rec.709, which is the standard for
colour reproduction on transmissive
displays, including tablets and
smartphones. For video-makers, the
PD3205U also handles HDR content
via HDR10 support, but unlike the
PD3220U, it doesn’t support DCI-P3
which is a cinematographic colour
space with a wider gamut. There are
also dedicated display modes for
CAD/CAM and animation.
Notably, the display is individually
calibrated prior to shipping – and the
results documentation is supplied in
the box – so the overall accuracy of
the colour reproduction is guaranteed
at the start. For the record, the
average Delta E rating of our test
example was 0.218, and any number
below 1.00 means that even an
The display
is individually
calibrated prior to
shipping, so the
overall accuracy
of the colour
reproduction is
guaranteed at
the start.”
On-screen expert can’t see any difference when
menus allow comparing two colours side-by-side.
for easy setup Additionally, the panel is not only
and subsequent Pantone Validated for overall colour
adjustments.
accuracy, but has earned the more
exacting Pantone Skintone Validated
status for the precise reproduction of
skin tones.
Unlike the more expensive BenQ
monitors, the PD3205U doesn’t
support hardware calibration, but
you can still perform software-based
calibration using a colorimeter – such
as Datacolor’s Spyder X – which will
be necessary over time to ensure the
display is kept within specifications.
Controls And Connections
Ever thinner bezels – the display’s
surrounding frame – are now a feature
of TV screens and it’s becoming a trait
in monitor design too. Consequently,
the PD3205U is virtually an all-display
panel at the front, and even the lower
edge is now free of branding and any
external controls. It looks very clean
and elegant as does the rounded
support column and the heavyweight
base, which means it can have a
smaller footprint without
compromising stability. The column
incorporates a cable holder so you
don’t end up with the common tangle
behind the monitor.
The column is internally damped so
it can be freely moved, but then stays
firmly parked at the desired height.
The adjustment range is 11cm and the
panel's mount allows adjustments for
both tilt and swing, plus a full 90º pivot
for a portrait orientation. The physical
controls are now located on the lower
right – as you look at the monitor – of
the rear panel so they’re obviously
out of sight, but it doesn’t take long
to memorise what does what. One of
these controls is a little joystick for
navigating the monitor’s on-screen
menus and you do have to think
in reverse for this. A better option
for navigating the menus is BenQ’s
Hotkey Puck G2, a handy wired remote
controller that can be positioned
wherever it’s the most convenient
and comfortable. It comprises three
hotkeys that can assigned a function
– such as switching between the
regularly used colour modes – and a
central dial that’s also customisable
for adjustments such as brightness.
This monitor also has a Keyboard
Video Monitor/Mouse (KVM) which
allows for easier switching between
two input computers or two monitors.
There’s also a DualView mode for
when you’re using one display with

57
 BENQ
DESIGNVUE PD3205U 4K UHD
The Hotkey Puck G2 wired remote controller can
be customised to provide convenient, centralised
control over a range of functions and setting.
two inputs.
The connection options are numerous
with the main bay on the rear panel
comprising a total of eight ports (and a handy
graphic shows the KVM pairing options).
These include one USB-C, two USB-A and
two USB-B, plus a Display Port input. Located
on a small panel on the side of the monitor
– so it’s easier for frequent connecting and
disconnecting – is a USB-C port (which
supports charging), a USB-A port and a
3.5mm minijack audio output for connecting
up headphones.
Performance
Subjectively, the PD3205U’s colour fidelity is
exceptional with nicely smooth gradations, a
wide dynamic range and beautifully crisp
fine detailing or text. The average screen
brightness could, however, be a little on the
low side for anybody working in an area that
has a lot of natural light.
To back up our obervations, we conducted
SPECS DESIGNVUE PD3205U 4K UHD
Panel Type: 80 centimetres (31.5 inches)
IPS with white LED backlighting.
Display Area: 697.31x392.23 millimetres
(full scan). 16:9 aspect ratio.
Native Resolution: 3840x2160 pixels (140
ppi).
Viewing Angles: 178 degrees horizontal
and vertical.
Brightness: 250 cd/m² (average).
Contrast: 1000:1 (typical).
Display Colours: 1.07 billion.
Colour Range: 99 percent sRGB, 99 percent
Rec.709.
Internal Processing: 10-bits per colour.
Height Adjustment Range: 11.0 centime-
tres.
58
The port options are numerous with the main
connection bay at the rear and smaller sub-panel
at the side for the more frequently-made
connects and disconnects.
software-based calibration using the SpyderX
Elite colorimeter, and the subsequent
DisplayCal scores for colour uniformity and
colour accuracy, luminance uniformity, white
point uniformity, tone response and contrast
were all very good. The sRGB colour gamut
is fine for working with images that will end
up online and on TV displays, but if you’re
intending to do a lot of image editing for
printing, then the wider gamut of the Adobe
RGB colour space is the standard. As we
noted with the PD3220U, this monitor can
still be used for print preparation, but you’re
not going to see exactly how the output will
look. Nevetheless, you’d need to be printing
for commercial sales or exhibitions to justify
the significantly higher cost of a monitor
capable of reproducing more of the Adobe
RGB colour space
The Verdict
The price tag is obviously a big attraction of
the BenQ PD3205U, especially for a 32-inch
Mount Adjustments: -5.0-20 degrees tilt,
15/15 degrees left/right swivel, 90 degrees
pivot (for portrait format).
Connections: Back panel = Display Port
1.4, HDMI 2.0, USB Type C, two USB 3.2
Type B (upstream), two USB 3.2 Type A
(downstream), USB mini B (for the ‘Hotkey’
puck controller. Side panel = USB 3.2 Type
C (downstream; data, AV, 90 watts power
delivery, Display Port mode), USB 3.2 Type A
(downstream), 3.5mm stereo audio output.
Features: Ten colour modes (sRGB, Rec.
709, CAD/CAM, Animation, DICOM, HDR,
Darkroom, Low Blue Light, MacBook, User
set), HDR 10 support, Delta E ≤3 (CIE) colour
accuracy, ‘Hotkey Puck G2’ wired remote
controller, ‘DualView’ side-by-side compari-
The physical controls are out of sight and yet
easy to reach and memorise which one does
what, including a joystick for the on-screen
menus.
4K UHD display, but it also delivers a lot for
the money, especially in terms of its
outstanding colour accuracy and panel
uniformity. For many photographers, making
videos is likely to be a higher priority than
making prints, in which case the PD3205U is
even more of a value-for-money all-rounder.
While it’s more of a no-frills model
compared to the likes of the PD3220U, it
still has everything most pros working in
both stills and video will need, including
the conveniences of the hotkey controller
and the multi-function USB-C in/out port.
Additionally, it’s well built and smartly
styled, so it looks right at home in the
décor-conscious office or studio. If, for one
reason or another, you’re having to watch
your expenditure on new imaging hardware
more closely, then the PD3205U monitor is
certainly a sound choice economically, but
it’s also hard to beat for its performance
and practicality.
son display, picture-in-picture and picture-
by-picture displays, Display Pilot Edge
software (for multiple window partitions),
matte anti-glare screen coating, flicker-free
technology, KVM Switch (auto pairs two
input systems), two built-in loudspeakers,
VESA wall mount (100x100 mm). Pantone
Validated, Pantone Skintone Validated and
CalMAN Verified.
Dimensions (WxHxD): 714.7x589.0x256.8
mm (including stand at highest setting).
Weight: 9.4 kilograms (including stand).
Price: $1,399 including Hotkey Puck G2 and
cables (HDMI, USB-C and USB).
Distributor: BenQ Australia. For more infor-
mation go to https://www.benq.com/en-au/
monitor/designer/pd3205u-32-inch.html
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