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Jamie Roche shot on GFX50s

01. This is Jamie Roche. I shot him at Calumet Birmingham on a Fujifilm GFX experience day. I set up a couple of flash heads for this set. I used the GFX50s with the 110mm lens. The lights were a Godox AD600BM and a Godox AD200. The trigger was the TT350F.

Monochrome portraits

02. As above.

Jamie Roche suited and booted

03. Keeping with the Godox lighting I shot Jamie in a smarter guise. I used a SMDV Speedbox 70 with grid for the key light and a 5″ reflector with grid for the subtle kicker. I used the GFX50s with the 32-64mm lens at 64mm and f/5.6 for this shot. The shutter speed was 1/500th second. Now that Godox have a great lighting solution for the complete range of Fujifilm cameras it is possible to shoot at any shutter speed right up to 1/4000th second without sacrificing flash power or quality.

04. I showed how to change up the lighting using a few Lupo Fresnel spotlights. Everybody loved the continuous light. I created the dapple on the Calumet Storm grey background using a Scattergel.

05. The Lupos are so punchy and crisp. They are perfect lights for shooting editorial portraits.

06. This shot was lit with flash and shot at 1/4000th second at f/2 using ISO 100. The Godox AD600 was on half power. The shallow depth of field look is courtesy of the 110mm lens at minimum focus distance at f/2. It feels like being back on roll film. There is a certain magic that comes from a large sensor camera.

07. I showed the attendees how I create a range of looks from the same lighting set up.

08. I explained my use of negative space when shooting for layouts. The emphasis of the day was on the camera itself. The GFX delivers a look to the files that I love. I used a tripod for my shots and I love the way it makes me feel. It slows me down and I find my output is more considered, more polished when I’m using my GFX50s.

09. A change of viewpoint from above and below mixes up the set.

10. Rebecca Donaldson was my model for a studio lighting workshop at Pavilion Studios and couple of one light photography sessions at Loxley Colour lab in Scotland.

11. I used Broncolor flash systems for half of the day and Lupo continuous lighting for the other half.

12. Just one Lupo 1000 with a Scattergel creates a dramatic film star look.

13. I changed the viewpoint around.

14. We shot a range of poses and styles. I particularly like the top left shot. I showed how to alter the tone of the background with contrast control lighting.

Rebecca Donaldson model from Glasgow

15. The top shot is a three light exposure and the bottom shot is a one light shot.

Rebecca Donaldson model shots

16. Lupo portraits. All these frames were shot on the GFX50s with either the 110mm or the 32-64mm lens.

17. The classic medium format look is courtesy of the 110mm lens at f/2.

18. Three of these shots were lit with one light and the rock chick look was blasted with all the Broncolor Sirus 800 heads could deliver.

If you would like to attend a studio lighting workshop near you or would like some 1:1 training please contact Blaise or Laura at my studio on +44 (0)1275 853204. I do travel the world and I run workshops on several continents. More information can be found here.

Feel free to comment on the pictures or techniques used.

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14 Responses

  1. Paul harrison

    Thanks for another great set of images, having briefly used the GFX I am now hooked, however I don’t yet own one, one day maybe, one day !!

    Reply
    • Damien

      Thanks Paul,

      You are welcome. Everything like this becomes affordable in time. Patience will prevail.

      Kindest regards,

      Damien.

      Reply
  2. Frank Williams

    I didn’t expect anything les from you Damien. I now have the GFX with the 32-64mm and the 110mm. Even thou I’ve only used it for landscapes so far (1 outing) I know what its potential will be.
    Great images from a master of photography and light.
    The series of Master Of Photography (Sky TV) has nothing on you.
    Regards Frank Williams.

    Reply
    • Damien

      Hi Frank,

      Thank you for your kind words. I hope you soon get the chance to get out there are push your photography to new heights with the GFX.

      Kindest regards,

      Damien.

      Reply
  3. Bryan

    Master of Photography. I watched the very first episode expecting something special.. What a complete waste of broadcasting effort. Nuff Said.

    Reply
    • murraylaidlaw

      Master of Photography is a terrible programme, series two is only marginally better without Isabella Rossini as the presenter. It has no redeeming features except Caroline Hunter, picture editor. I’m afraid Oliviero Toscani is just as unpleasant and self opinionated as before.

      Damian’s photographs however are beautiful lit.

      Reply
    • Damien

      Hi Bryan,

      I didn’t watch it and I don’t feel like I’ve missed anything ;)

      Kind regards,

      Damien

      Reply
  4. Bjorn Sorensen

    Trying to figure out how you made #6. Was it made with HSS ?? Was it a dark room or daylight? You cranked the shutter speed up to get rid of daylight? AD600 on half power sounds like a lot of light! ???

    Reply
    • Damien

      Hi Bjorn,

      I usually run my studio heads at about half power, that gives a fast recycle, short flash duration and saves the life of the tubes. My regular studio work with flash is at f/11 and always has been. It’s a consistent style thing. Here I showed how to use f/2 to achieve a shallow depth of field without needing to touch the lights. We just switched the camera to 1/4000th second instead. Being able to choose the aperture without having to change the lighting power is great.

      I hope this helps,

      Damien.

      Reply
  5. Bill Watson

    You say “it feels like being back on roll film”, it looks like it too! Exquisite.

    Reply
  6. Mi

    Damien,
    Your pure whites and blacks remind me of the Leica 246 photos. Would you mind describing how you process GFX photos to get this purity. If you have done so already, please point me to this description.

    Mike

    Reply
    • Damien

      Hi Mike,

      The tonal range and distribution in my mono work has nothing to do with the camera or lens and everything to do with the lighting and printing/ processing. I’ve been shooting this on Fujifilm, Hasselblad, Phase One, Canon, Nikon over the past 16 years that I’ve been digital and on Fujifilm Neopan for many years before that. Light is almost everything and then there is understanding how to expose for the print. I’ve not done a GFX printing video yet but maybe that’s the next one to do. What I can tell you is I spend no more than 60 seconds on each picture in Lightroom. I used to spend about the same under the enlarger in the darkroom with 3x 20 second exposures being quite typical.

      Kindest regards,

      Damien.

      Reply