We’re streaming daily on Apple Podcasts, Google Podcasts, Stitcher, Pocket Casts, and Spotify! You can also listen to it right here on The Phoblographer.

The world is curious: how good is digital photography? Albert Watson famously told Steve Jobs when photographing him that digital wasn’t as good as film. Steve allegedly said that it would one day get there. In 2021, lots of us know better. There’s a world where film photography, digital photography, and instant film photography can co-exist. In the purest sense, film photography is still more versatile and gives different looks. This is especially the case with Medium Format Film. That may sound crazy, but it makes a ton of sense. Digital photography also very much has its place in our lives.

The Monotony of Digital Photography

Digital photography is monotonous. Lots of camera manufacturers use the same sensors; the same 24MP sensor is in various cameras. And that makes digital very monotonous. It needs to rely on in-camera processing, lenses, and post-production to make it stand out. But at that point, it’s kind of useless. Leica, Fujifilm, Sony, and Canon have the most unique sensors in their cameras. With Fujifilm, it’s specifically present with the X-series. At the medium format range, Fujifilm relies more on its processing power in-camera to get its look. That’s how they stand out.

But is digital better than film? It depends on the parameters. In terms of dynamic range, it’s challenging to beat the range Fujifilm PRO400H had. If you’re talking about colors, Velvia and Ektachrome can do a great job. Digital tries so hard to copy the look of film. Think about how many presets exist for Kodak Portra alone!

If you’re talking about resolution, then digital is starting to win out here. 35mm film can only be scanned to a certain degree. 120 film only has so much to offer too. Large format gives you lots of possibilities, but again, it’s really just being translated over to a digital image. In the printing process, you can sometimes get more and better photos from film photography.

The arguable exception to this rule is Kodak Portra 160 and Kodak Portra 400. They were made to be scanned.

The Variety and Spice of Film Photography

Film photography already has a leg up on digital photography here. Today, you buy a camera based on features and know that you can do a whole lot in post-production. But with film, you buy it for the look. Kodak Portra looks much different from CineStill. You start with a very unique product. Then, when you want to make it look different, you scan or develop it in a non-conventional way. Film photography has cross-processing, which digital can’t do at all.

Again though, 35mm and 120 films aren’t always able to totally stack up to digital. They can give you a look that you really can’t get digitally, though, unless you do a lot of post-production work. Film has also been around far longer than digital. But as I said, digital needs variety. It starts in-camera. If you do everything in post-production, then your camera really just won’t matter.

What good is a Sony Artisan who does all the work in post-production? Or what about a Canon Explorer of Light who shoots for 10 minutes and spends the entire night retouching photos? If that’s the case, what’s the point of using the camera system?

Is Modern Day Digital Better Than Medium Format Film?

When we think of the modern-day, digital medium format, we usually think of Hasselblad and Fujifilm. Phase One is still around, but they just focus on DSLRs. Medium format DSLRs are still doing things medium format mirrorless isn’t doing. 400 Megapixel imaging, for example, is one of the insane things medium format digital does. And it does it very well. You can still get a more unique look from larger film planes than the full-frame medium format. A 6×9 image will look different than a full-frame 645 photo. So honestly, in some ways, medium format film is better than digital. But digital surely has the leg up in cer...

Hybrid is a word that is becoming more readily used in the photography community. Bags are quickly adapting to photographers’ needs in a fast-paced world. The Vanguard Alta Fly 58T rolling camera bag functions primarily as a trolley and doubles as a backpack. It’s durable, functional, and TSA compliant. The hybrid is almost perfect.

Table of Contents

Too Long Didn’t Read

Pros and Cons

Pros

Cons

Tech Specs

Gear Used

Innovations

Ergonomics

Build Quality

Ease Of Use

Conclusions of the Vanguard Alta Fly 58T Roller Bag

Likes

Dislikes

Too Long Didn’t Read

The Vanguard Alta Fly 58T is a very functional hybrid trolley bag that doubles as a backpack. It comes equipped with padded shoulder straps and a waist strap that can be easily stowed away. The bag meets TSA carry-on standards and has extra grab handles for access. It’s quite versatile and functional.

Pros and Cons

Pros

Fits TSA carry-on guidelines

Can accommodate a Broncolor Siros L 800ws

Removable interior cube

Can be worn as a backpack or used as a trolley

Easy organization

Cons

Sternum strap isn’t high enough for women

Trolley handle access fits too snug

Doesn’t have weather-resistant zippers

Tech Specs

All tech specs are provided by the manufacturer.

Accessories: Raincover

Color: Black

Extended Warranty: Limited Lifetime

Inside Dimensions: 12 1/4″ x 6 7/8″ x 19 1/4″

Max Lens Capacity: 6

Notebook Capacity: 14”

Outside Dimensions: 13 5/8″ x 11″ x 23 1/4″

Series: Alta Fly

Shoulder Bag Type: Backpack

Tripod Storage: Y

Warranty: 1Y

Weight: 10.5 lbs.

Price: $299.99

Gear Used

We tested the Vanguard Alta Fly 58T with a Canon 5D Mark III and Canon 50mm f1.2 lens attached, Canon 85mm f1.2 lens, Broncolor Siros L 800ws, and a 3 Legged Thing Billy 2.0 tripod.

Innovations

Vanguard isn’t reinventing the wheel. However, they made an incredibly versatile option for photographers. It’s well thought-out to provide comfort when worn as a backpack. The Alta Fly 58T also spins effortlessly when used as a trolley. Again, it’s not innovative.

Ergonomics

On the top, you will find a sizeable padded grab handle. The trolley handle is also stored here. There are two D-rings located on either side. I found these handy to attach my keys.

The front panel of the Vanguard Alta Fly 58T has a large, zippered pocket to store memory cards, cables, and other small items.

Completely unzip the front panel to access the main compartment. Here you will find a protective mesh layer and a customizable cube.

The cube is also removable.

The inside of the front panel will accommodate a 16” MacBook Pro. This is larger than the specs indicate. There are two straps on the front panel that secure to the main compartment. This protects the laptop and prevents it from falling down when the bag is upright.

A smaller pocket located towards the top will fit a wallet, cell phone, and other personal items.

There are two straps to secure a tripod. And a pouch can even be accessed underneath a velcro strap for extra security.

On one side, there is a sizeable, stretchy pocket. I used this to hold my water bottle. Each side is equipped with a padded grab-handle for added convenience and comfort.

The padded shoulder straps and waist harness are on the back of the bag. There is a large pouch to secure the shoulder straps when not in use. It also houses the waterproof cover. The waist strap can then be fastened around the front of the bag to avoid dragging it. It also provides an extra level of security.

This is how the Alta Fly 58T fits when wearing it as a backpack. A waist strap is located at the bottom. And the harness strap is attached to the shoulder straps. While it’s uncomfortable for women and quite unflattering, I did find the bag comfortable without attaching the sternum strap for shorter durations.

Build Quality

Vanguard has built the Alta Fly 58T with rugged moisture-resistant and anti-scratch materials. The spinning wheels operate flawlessly when used as a trolley. But, the zippers aren’t fully water-resistant. I got caugh...

If you’re considering using a rangefinder, then we’re pretty sure you’re using it incorrectly. The reason for this is simple: modern cameras and lenses encourage you to shoot with them wide open. We’re not saying that you shouldn’t shoot with your pretty rangefinder lenses wide open. But you’re not doing yourself any favors. Lucky for you, we’ve done tutorials over the years on using a rangefinder camera better. So we’re going to go through a few here.

You can view this article and much more with minimal banner ads in our brand new app for iOS, iPadOS, and Android. And for $24.99/year, you can have a banner ad-free experience.

Table of Contents

Using a Rangefinder Camera to the Fullest Potential

Zone Focus the Camera

How to Zone Focus a Lens

Using a Rangefinder Camera to the Fullest Potential

Let’s be honest, if you’re manually focusing a lens back and forth to get your subject in focus, you’re not always going to nail focus. It’s difficult! But sometimes it’s all you can do if you’re shooting with an ultra-fast aperture lens. Rangefinder cameras are meant to be used differently though. You’re supposed to stop the lens down, focus a distance away, and then fine-tune the focusing with the viewfinder. When you use it this way, you can get photos that sometimes the fastest autofocusing cameras wouldn’t be able to. This is how master street photographers have used them for years.

Zone Focus the Camera

Here’s a quote from an article we previously did on how to zone focus a camera that was sponsored by Leica:

Choose a normal or wider focal length. The ideal choices are 50mm, 35mm, 28mm, and 24mm lenses. The great masters of street photography used anywhere between 50mm and 28mm lenses. Those, they said, show the world the way they see it. We’ve got a full recommendation of our favorite lenses right here. Try the Leica 50mm f1.4 Summilux ASPH, the Leica 28mm f1.4 Summilux ASPH, or the Leica 35mm f2 Summicron ASPH.

Look at the lens. Focus it to a distance you’re comfortable being from your subject. During social distancing times, you might want to choose around six feet away.

Read the distance scale. It will tell you how much of the scene will be in focus at a given aperture. Stop the lens down to where you’re comfortable.

Set the ISO so that your shutter speed is at least 1/50th. If you really want to stop people in motion, you’ll need at least 1/1000th.

As an extra tip, meter off your hand. Your hand will be close to the skin tones that you want to capture. And that will prep you for shooting the photos you envision.

Pay attention to the lighting around you. As it changes, you might need to adjust your exposure.

How to Zone Focus a Lens

Of course, you do not really zone focus with your camera. Instead, you’re doing it with a lens. And in the video above, we’re showing you just how to do that. This applies to more than just rangefinder cameras. Of course, zone focusing is the best way to go about using a rangefinder camera. But if you adapt those lenses onto another mirrorless camera of some sort, this is the best way to use them.

We hope that these videos and this short tutorial helps you folks out. Please enjoy!

Many camera backpacks overwhelm my small frame, with straps that dig into my skin and ergonomic pads that don’t sit where they should. Made from a company that makes camera bags for women, the Jo Totes Bellbrook is a smaller backpack. Designed with waxed canvas and leather accents, it charmingly looks like its primary purpose is fashion. But, with a number of different ways to stash gear, the Bellbrook is more than just good-looking.

While it’s not perfect for larger systems, I enjoyed carrying a camera body and two lenses with the Bellbrook. With gear on the bottom (or top), it has a lot of room for personal items and a laptop in the back. I spent a few weeks with the Bellbrook to see if it’s more than just a pretty bag.

Table of Contents

Too Long, Didn’t Read

Jo Totes Bellbrook Backpack Pros and Cons

Pros

Cons

Gear Used

Innovations

Jo Totes Bellbrook Backpack Tech Specs

Ergonomics

Build Quality

Ease of Use

Conclusions

Likes

Dislikes

Too Long, Didn’t Read

The Jo Totes Bellbrook backpack is a great looking, waxed canvas bag. It’s ideal for crop sensors and smaller mirrorless cameras and 1-2 extra lenses. Without a large opening and with thinner straps, it’s not the best choice for larger cameras or heavy loads. But, it’s a good option for APS-C mirrorless shooters with just a few lenses.

Jo Totes Bellbrook Backpack Pros and Cons

Pros

Stylish canvas exterior

Multiple ways to arrange gear

Ambidextrous quick access door

Nicely padded back

Soft straps don’t dig or chafe

Comfortable enough for smaller kits

Cons

Difficult to get full frame cameras in and out of the side door

Bottom section has limited access and organization

Straps would need more padding to carry super heavy gear

Gear Used

I tried the Jo Totes Bellbrook with a few different setups, including the Canon EOS R6 and 14-35mm f4 L lens, the Sony a6600 with the Tamron 18-300mm f3.5-6.3 lens, and the Fujifilm X-T4 with the 16-80mm kit lens and 90mm f2.

Innovations

Jo Totes is a company that makes camera bags geared towards women. The Bellbrook is made for smaller torsos. It also has quick access doors on both sides so you can access the camera with either hand. Camera bags for women usually look like purses — the Bellbrook blends style with the comfort of carrying gear on two straps instead of one.

Jo Totes Bellbrook Backpack Tech Specs

Jo Totes lists the following features for the Bellbrook backpack:

Water-resistant waxed canvas and high-quality leather trim

Interior fabric: gray brushed nylon

Includes insert (approximately 10.75″x 4.25″ x 6″) with two adjustable pads

Seven padded dividers in two sizes

Laptop sleeve can accommodate up to a 15 inch computer or notebook

Backpack base is padded

Large, zippered pocket in front

Organization pockets in rear compartment

Adjustable, padded shoulder straps

Padded back for comfortable wear

Turn lock closure in satin brass color

Size: 15.75” x 12” x 6.25”

Ergonomics

The Jo Totes Bellbrook can be divided into two main compartments. One sits at the bottom with two side access doors. The second compartment is accessible from the top zipper. With the bag set up this way, the bottom can store gear and the top personal items. Or, a removable insert can stash extra lenses and flashes in the top compartment as well. The center divider can also be removed, creating one large area for gear or personal items.

Besides that main compartment, the Bellbrook has a laptop compartment at the back. I’ve said this before with other bag reviews and I will say it again — I don’t like the laptop sitting right against the back. This makes the back panel stiff and it no longer curves with your back. But, the back of the bag is well-padded. It wasn’t uncomfortable to carry my iPad in the back but, with my 15-inch MacBook, it would start to feel uncomfortable to wear for longer periods. The laptop compartment also has three interior pockets as well as a pencil pocket and an ID sleeve.

A third, roomy pocket sits on the front exterior of the bag. A flap clos...

Sigma is a third-party company known for lenses that tend to be a bit more budget-friendly than larger names. But, that’s not exactly the case with the I series: a set of metal prime lenses designed to be more high-end than budget. The Sigma 24mm f2 DG DN Contemporary is one of those lenses.

You can view this article and much more with minimal banner ads in our brand new app for iOS, iPadOS, and Android. And for $24.99/year, you can have a banner ad-free experience.

Pulling this lens out of the box, I was immediately impressed. Metal lenses, particularly those with a dedicated aperture ring, are my favorite optics to use. But, luxury builds don’t always translate to luxury photos. I spent two weeks with the Sigma 24mm f2. I’m drawn to the metal build and the almost non-existent barrel distortion, but there are a few quirks to contend with.

Table of Contents

Too Long, Didn’t Read

Pros and Cons

Pros

Cons

Gear Used

Innovations

Tech Specs

Ergonomics

Build Quality

Autofocus

Ease of Use

Image Quality

Bokeh

Sharpness

Lens Character

Color Rendering

Extra Image Samples

Edited

Unedited

Conclusions

Likes

Dislikes

Too Long, Didn’t Read

If barrel distortion bothers you, the Sigma 24mm f2 DG DN is a good choice. It has softer, dream-like images at f2, but sharpens up quickly. The metal build feels great, but it isn’t completely weather-sealed.

Pros and Cons

Pros

Beautiful metal build

Dedicated aperture ring

Excellent reduction of barrel distortion

Dreamlike character at f2

Well-controlled flare and aberration

Fun to shoot with

Cons

Weather-sealing is only at the mount

Not super sharp wide open

Not as competitively priced as I’d like

Gear Used

The lens with the DN in the name is Sigma’s mirrorless version. I tested the L-Mount lens on the Panasonic S5 body.

This review unit was provided by LensRentals.

Innovations

The Sigma 24mm f2 DG DN is part of Sigma’s I series, which offers an all-metal barrel construction. While metal autofocus lenses aren’t hard to find, it’s a bit more unusual to find them from third-party companies. It’s going to be a welcome option for L-Mount shooters as it offers a metal design without the high price of Leica glass.

Tech Specs

LensRentals provides the following specifications for the 24mm f2 DG DN Contemporary:

“F” Low-Dispersion Elements1Angle of View84.1°Aperture Blades9, RoundedAspherical Elements2AutofocusAutofocusBrandSigmaCompatibilityFull FrameDiameter2.8″Filter Size62.0mmFocal Length24.0-24.0Groups/Elements11/13Hood IncludedYesImage StabilizationNoItem TypeLensLength2.8″Lens TypeWide Angle and Wide AngleMax Aperture22.0Maximum Magnification7.7xMfr. Model Number403969Minimum Aperture22.0Minimum Focusing Distance0.8’MountL MountSpecial Low-Dispersion Elements2Weight0.8 lb.

Ergonomics

The Sigma 24mm f2 DG DN is a metal barrel lens with a dedicated aperture ring. While the lens is metal and a relatively bright wide-angle, it’s not terribly heavy. It weighs under 13 ounces and feels well balanced on the Panasonic S5. The lens will take up about a 2.8-inch slot in the camera bag.

Starting at the lens mount, the first control that you will see is an auto to manual focus switch. The switch has a white patch when in autofocus mode, which made it a little bit easier to see where the switch was in the dark when I photographed the stars.

Moving towards the front of the lens, the barrel next houses a clicky aperture ring. It’s nicely labeled from f2 to f22, with an A spot to shoot in aperture priority. The areas of the aperture ring that don’t house a label have a nice deep textured groove that’s easy to grab and turn.

The focus ring sits towards the front of the lens. The ring turns smoothly and at an ideal pace — not too fast, not too slow. I found it easy to find the sweet spot to shoot astrophotography in manual focus.

The front of the lens, which takes 62mm filters, isn’t all glass like some of the wider aperture and wider angle lenses. There’s an edge around the front glass. The lens includes a petal-shaped h...

On this week's episode of Inside the Photographer's Mind, we're joined by New York based street photographer, Phil Penman.

We talk about his early days as a press photographer, his journey into street photography, and the importance of solid marketing. Enjoy the show, and please subscribe, share, hit a like, and let us know what you think in the comments below.

“With vintage lenses being made decades before the internet, it’s hard to verify the information you find online,” says bokehsommelier aka Wolfgang. A researcher, collector, and expert on classic lenses, he’s in the process of setting up what he hopes will become Europe’s first dedicated vintage lens rental store. By verifying the origins of each lens, he’s aiming to make his store one of the more authentic ones around. It’s a brave attempt, but given the rarity of some of the lenses he’s planning on procuring, it could just be a runaway success.

You can view this article and much more with minimal ads in our brand new app for iOS, iPadOS, and Android.

Lens rental stores aren’t uncommon these days. With more people moving to careers in the visual industries of the world, the demand for good glass is ever increasing. Even here in Dubai, I’ve seen several new photographers and short filmmakers look for unique, older lenses that possess characteristics that they don’t find in digital era lenses. I’ve previously wondered why they don’t just introduce vintage looks in post-processing. But as the years went by and I interacted with more and more DoPs, I realized that almost all of them prefer to get the look they want in-camera. And that’s never a bad thing; it’s just that it often takes longer to source such lenses. Wolfgang sees an opportunity to be a pioneer in this segment in Europe. What started as a keen interest in learning vintage glass’s intimate features has now blossomed into a potentially successful venture to rent unique lenses.

The Essential Photo Gear Used By Wolfgang

Wolfgang told us:

Nikon F5

Leica M10

I read a post on a Japanese photography blog years ago that had a picture of some datasheets in it saying, “Political views: Nikon, Religious Views: Leica”. I think this particular statement sums it up quite well for me.

The Phoblographer: Hi Wolfgang. Please tell us about yourself and how you got into photography.

Wolfgang: I was born in southern Germany and went to school in England. My passion for photography developed early. There are pictures of me loading my father’s Nikon F3 at 6 or 7 years old. I got my first camera at age 9- a simple Canon rangefinder. For a Christmas gift in my freshman year of high school, I was given my first DSLR camera. I went on to become the school photographer of my boarding school, taking the yearbook headshots and documenting events around the school. Around this time, I started getting into vintage lenses. My first one was a 1970 Nikon 35mm f/1.4. Being used to modern glass, the intense character of this lens made me fall in love with vintage lenses in a heartbeat. I wanted to know what gave them their characteristics and started doing research into optical design and history. I made extensive comparisons and lists and analyzed what I could. Later on, in Uni, I worked part-time as an event photographer.

Folks realized my photos had a somewhat “different” look, which they liked. I’m still doing this but on more rare occasions. I just feel at home behind the viewfinder. It’s meditation for me.

The Phoblographer: What camera gear do you use for your work?

Wolfgang: If I need a quick, highly responsive camera, i.e., for an event, I use the top-of-the-line Nikon DSLRs or the F5 for film. For my personal photography and slower-paced shoots, I use a Leica M10. The native Leica M-lenses are among my favorites. They combine character and performance in a unique way. In addition, I use a myriad of vintage lenses for both Nikon and Leica. I’m still very fond of optical viewfinders.

The Phoblographer: More commonly used for wine connoisseurs; tell us how you came up with the moniker ‘bokehsommelier’.

Wolfgang: That was the classic shower thought. It was my birthday, and I enjoyed a great bottle of Bordeaux with friends in a restaurant. The next morning, it hit me. I was lucky there: I really like Schneider-Kreuznach, so the runner-up to Bokehsommelier was literally “Schneiderguy”!

I was luc...

The industry needs more rolltop backpacks. We’ve reviewed a bunch of them, but I’ve been baffled as to why they haven’t become more mainstay. Of any backpack style for photographers, the rolltop is truly the best that most of us on staff have used. There are lots of great reasons why too!

They’re So Accommodating

Most times I’ve traveled, I’ve used a rolltop backpack. There are tons of great reasons for this. I’d often need to go on a press trip. One back, the rolltop backpack, would be all for technology. Then I’d have a duffel bag on the side for clothing and personal necessities. My rolltop backpack would hold a camera or two, lenses, a light, a laptop, cables, headphones, cleaning gear, and a few personal items. That’s just inside. On the outside, I’ve often found a rolltop backpack to be able to hold things like water bottles and tripods. They’re indeed built to do just this. Lots of them have sternum and waist straps. And, for the record, we’ve reviewed the most camera bags of any publication on the market. So we know just how good the rolltop can be for photographers. Many of us prefer them as our personal camera bags.

The one I use most is a Tenba DNA Backpack. Is it stylish? No, but it gets the job done effectively at a low cost. Style is important to me, and most of these bags are nylon or some other material. But over the years, I’ve really wanted more leather and canvas. Some brands have convinced me that those are really heavy. And I’ll concur. But then in that case, I’d be all for a bag made of hemp of some sort. I just haven’t found one I like just yet.

They Adapt with You on the Go

There are times when I’ve traveled with a rolltop backpack and bought things along the way. Maybe it’s been food, drinks, gifts, etc. But the rolltop design accommodates to always bringing more stuff. And no matter what, they’ve always let me store them on airplanes in the carry-on compartment, on trains, etc. They can become smaller or larger at will and keep things all within reasonable space.

When I’ve gotten to a hotel room, I often unpack my rolltop backpack. Then I pack it accordingly with only what I need when I get to a location. It’s really been great over the years. They’ve done wonders for my back. Often on trips, the WANDRD PRVKE backpacks are what I’ve brought with me. Besides those, I’ve used THULE before too.

They Let a Photographer Travel with Only One Bag

Here’s the biggest thing: you can actually pack minimally using a rolltop backpack. Going on a weekend getaway? Shove the camera gear down in the bottom compartment and then store essentials in the top area. You can shove another pair of pants, toiletries, two or three shirts, socks, and underwear in the top section. Sometimes you’ll have room for extra stuff you may bring or buy along the way. If you’re doing a weekend getaway, a rolltop backpack is an easy choice.

It’s also great on your back, but we’ve said that already. Keeping things balanced on your back and posture is very important. It’s much better to put everything on your back than to have that and another bag on the side. Trust us, your back will appreciate you so much more.

“I got to thinking about the common saying, ‘That looks like it was taken with a potato,'” says experienced cyanotype photographer Stacy Piotti, about the origins of this project. She began experimenting with pinhole photography after receiving one as a gift a few years ago. After a handful of DIY pinhole camera experiments, she decided to give Mr. Potato Head a go at being transformed into a one-of-a-kind camera.

You can view this article and much more with minimal ads in our brand new app for iOS, iPadOS, and Android.

I marvel at photographers who step beyond conventional boundaries to create incredibly unique images. Pinhole photography is one such genre I haven’t attempted yet. The effort it takes to make these kinds of images is admirable. But creating unconventional photos isn’t new to Stacy Piotti. She considers herself an old-school photographer who enjoys taking cyanotype images of her surroundings in Phoenix, Arizona. It’s all about enjoying the process of photography for her, and with this in mind, she decided to transform a Mr. Potato Head into a pinhole camera.

The Essential Photo Gear Used by Stacy Piotti

Stacy told us:

Panasonic Lumix DMC-LX5

Kodak Brownie Hawkeye

Brownie Bullseye

Kodak Anastigmat Accordion No. 0

Kodak Hawkeye Accordion Model B

Rolleicord IV TLR

Kodak Autographic Accordion No. 3 model C

Canon AE-1

Fujifilm X100T

Kodak Stereo Camera f3.5

Wardette

Polaroid Now

Fuji Instax Mini 90

Various DIY pinhole cameras

I’ve become obsessed with collecting older film cameras. It’s fun to play around with a little bit of everything that once was available. From rare rangefinders, to the common Kodak Brownie box cameras, what’s old has become new. I have a collection of cameras that are in regular rotation, competing as my daily shooters

The Phoblographer: Please tell us about yourself and how you got into photography.

Stacy Piotti: A native to the East coast, I spent my youth in Pennsylvania and adulthood living in Maryland, New York, and New Jersey. After finding a new work opportunity in 2016, I chose to pick up and move west to Phoenix, Arizona. Taking up residence in the valley of the Sun, I found it much easier to create cyanotypes, and the volume at which I produced increased. My passion for alternative processes and film photography led me to connect with others who also shoot and create in Arizona. I was told to check out Phoenix Film Revival, a community darkroom in Downtown Phoenix that is working to keep film alive by providing access to resources and connecting film photographers. I decided to check it out and signed up for a film processing workshop only to find myself coming back frequently for open lab hours. I now teach workshops and educate those on the art of cyanotypes and alternative processes at PFR.

I’ve always enjoyed photography, having owned my fair share of plastic point-and-shoot cameras when I was a kid, taking pictures of anything I set my eyes on. It wasn’t until 2012, when I bought a digital Lumix DMC-LX5, that I started to pay attention to what I was shooting. I began to shoot with intent and focus more on the subject. That camera was and still is a little wonder, so portable, allowing me to take it anywhere. As fun as taking photos were, something was missing after the image was saved to my computer. I started to learn more about alternative process and film photography. It’s such a physical form, lending itself well to experimentation. The options are endless, allowing you to try out so many different techniques, cameras, films, and processing methods.

The Phoblographer: You’ve got a really deep interest in cyanotype photography. Tell us a bit about this please.

Stacy Piotti: About 15 years ago, I was going through a pile of books when I came across Better Homes and Gardens, a book I constantly leafed through as a child. There was a section in the book that I would always get stuck on, a photo of a couch filled with cyanotype portraits printed on pillows. At the time, I didn...

“It is a crazy good camera in a tiny package,” professes Australian professional photographer Adam Pretty, about Panasonic’s Lumix S5 digital camera. He was approached by the company to produce a set of promotional images for this camera, and Adam decided to go with skateboarding as the choice of sport to photograph with it.

You can view this article and much more with minimal ads in our brand new app for iOS, iPadOS, and Android.

When you’re doing a light painting project for your portfolio, you can probably afford all the time you need to get it right. That’s not to say commercial work needs to be rushed all the time, but there’s always a lot more riding on getting it right the first time when shooting for a high-priority client. When you’re given limited time with the pre-production model of a new camera, the pressure is really turned up. Adam Pretty dug into his extensive experience as a photographer to develop a set of images worthy of the S5’s product brochure.

The Essential Photo Gear Used by Adam Pretty

Adam told us:

Panasonic S5

Profoto heads

Profoto magnum reflectors

I use 35mm equipment primarily, I used to use quite a bit of medium and large format but that has dropped off in the last few years.I am using Canon for my sports editorial work and then Lumix for more projects and stories and commercial work.

The Phoblographer: Please tell us about yourself and how you got into photography.

Adam Pretty: I started at high school when I was around 15 years old, did some work experience while at school and fell in love with photography, and decided that was what I wanted to do. I started work right after high school at the Sydney Morning Herald as I deferred university for one year and then never stopped working and didn’t go back to university.

The Phoblographer: Tell us about how Panasonic approached you for this project.

Adam Pretty: I had done a few other assignments with Lumix. We were both really happy working together, and they came to me with this project which they wanted to be based around sports. Seeing as skating (skateboarding) was going to be new for Tokyo 2020, it seemed like a really good fit to go with the S5 camera as it was a more compact adventure/sport-centric camera. They just asked for a few options, and I pitched a few other sports as well, but skating was the best fit.

The Phoblographer: Was this a project under wraps for quite some time, or was it something conceptualised and produced just before the S5 launch?

Adam Pretty: Not really; it was shot as the first pre-production models were released, and the schedule was really tight. I had only one battery and body, so nothing could really go wrong, so it was pretty stressful.

The Phoblographer: Who came up with the idea for this? Were there other ideas that didn’t make the cut?

Adam Pretty: Skating was suggested by me (along with some other options), and I found a really good athlete (Tyler Edtmayer) based close to Munich and local to me, and he was the perfect fit. I was also really lucky as my son was just getting into skating, and I asked a few skate shops around Germany for recommendations and then found Tyler on his Instagram skating at the Cradle Skatepark in Brixlegg, which was also only a few hours drive away from Munich, and a perfect location.

The Phoblographer: Take us quickly through the production of the final day of this project. What was the mood you were looking to capture and how did you execute it?

Adam Pretty: I just wanted to shoot some really graphic and clean images; that was why I loved the Cradle Skatepark, there was no graffiti, and any branding around was easy to remove. I just wanted to capture some amazing images, and hopefully in a style that hadn’t been done a load of times (at least with skating). I did a few recce days down at the park and found the angles I liked and also spoke extensively to Tyler about what was possible and where he could do certain tricks. But on the day, some amazing lighting situations happen...