THE DAY
To kick this day off, we’ll start by going over the most important camera settings like the shooting modes, white balance, image quality and everything else you want to know. As soon as your camera is setup in the best way, we’ll take a good look at how to get a perfect exposure by choosing the right shutter speed, aperture and iso-setting. You’ll practice this in a series of exercises that will make you understand and remember these crucial pieces of information.

WHAT TO BRING
You only need a camera that allows you to make manual settings. Any DSLR or mirrorless camera (like the Panasonic GF1, Olympus PEN or Sony NEX). Some compact cameras also allow complete manual control. In case of doubt, contact us. Make sure you’ve got enough memory cards and batteries to last through the day. It’s a good idea to bring your camera’s manual too.
Thanks to the support of Servix & Partners and California Sunbounce, the studio is equipped with lots of great toys from Pocketwizard, Manfrotto, Lastolite, Chimera, Elinchrom, Sunbounce, … Most of these go beyond the scope of this workshop but feel free to try it out.

PRACTICAL
Location: The Barn, Dijkstraat 42, 1820 Steenokkerzeel
Time: 9h30 to 17h (-ish)
Number of participants: max 6
Level: As long as you can hold a camera in your hands, you’ll be fine
Language: Dutch (for an English version of this workshop, contact us)
Price: 103,30 EUR excl. VAT (125,00 EUR incl. VAT)
Workshop fee includes teaching and a tasty bread lunch

DATES AND BOOKINGS
- Saturday June 9 : book your spot (2 spots available)
more dates will be announced later

The images look soft

It’s funny how different people react on the high ISO samples. The comments range from “Wow, that’s amazing” to “That’s dreadfully soft, Canon screwed up big time”. Based on what I saw I tend to be in the “wow” camp but I can see why some people think they are dreadfully soft.
Let’s make this clear: Although I’m a Canon shooter and I have a good working relationship with that company, I don’t feel the need to defend the camera or the company. I’m not getting paid to say nice things about the 5D Mark 3, nor am I getting any reductions on Canon gear. On the contrary, I’ve spent some of my valuable time testing the camera and writing about it without any compensation. But I am rather sure that the 5D Mark 3 is going to be my next workhorse camera based on my first impressions. And I do feel the need to give my opinion about the perceived softness of my sample images.

- First of all, the pictures were taken with a pre-production sample. I’ve had the chance to play with other pre-production cameras in the past and I’ve often been pleasantly surprised by how much better the final firmware is compared to the beta version, even if the final version is released shortly after I’ve tested the beta version.

- I strongly believe that you have to “know” your gear inside out to produce the best results. I’ve only played with this new camera for a short time so I can’t say I know it enough to get the most out of it. The lenses I shot with also weren’t mine and I shot them pretty much all the time wide open.

- All the images I’ve shown are in-camera JPEG’s that have only through Lightroom to put the beta-sample text on it (as required by Canon). I’ve shot in the Neutral Picture Style, which doesn’t add much contrast or sharpness to the JPEG. When I shoot in RAW, I always add at least a bit of blacks, sharpening and contrast in LR. On top of that, I didn’t change any other settings, so there’s probably some in-camera noise reduction applied to the JPEGs. You can’t really judge the image quality from a JPEG anyway but I do know that I can get more image quality out of the RAW file. It may not be based on any scientific data but I feel pretty confident that the 5D Mark 3 will deliver great image quality.

I won’t make any final conclusions until I get to work with a production 5D Mark 3 in RAW for a while. And then still, my opinion will be based on my personal needs and feelings. I’ve learned to trust my instinct when it comes to reviewing gear, and my instinct tells me that the 5D Mark 3 will almost definitely be a great camera for me.

THE SHORT VERSION

It’s an amazing camera! I’m getting one

I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

DISCLAIMER

- It’s after 10pm and I had a really busy day. I don’t like to write when I’m tired but I know you are all waiting for this post. So please don’t mind typos and stuff. I will blog more in the coming days.
- The test was done on a pre-production sample with pre-production firmware. So thing can only get even better when the 5D mark3 hits the market.
- I have to base my review on JPEG-files as there’s no support for the RAW-files in Lightroom (or any other RAW-converter) yet.
- I’m not a scientist and don’t do lab tests. This is my point of view, the point of view of a professional photographer that needs an all-round camera.
- We were too exited and had too little time to do a very organized test. It was all a bit chaotic but great fun.
- My friend and pro model Sylviane kindly offered to be our model for the test. She’s so professional, she looked even great with 4 guys geeking out around her.

—–

HOW DOES IT FEEL?

It might sound stupid, but I think it’s important that a tool that you use all day, feels right in my hands. And the 5D mark 3 certainly does, even slightly better than it’s predecessor. It’s just a bit easier to hold and offers a bit more grip for sweaty hands. All the buttons and dials are in the right place and it didn’t take me long to figure out the menu system.

—–

AUTOFOCUS PERFORMANCE

Let’s face it, the autofocus on the 5D mk2 wasn’t very good (and I’m being gentle here). So a lot of people hoped it would be better in the new version. Well, good news, the new autofocus ROCKS!!!!! It has 61 AF sensors, of which 41 are cross-type sensors. I did my best to place Sylviane it very challenging AF situations but couldn’t get the 5D mk3′s AF to fail or even hunt. The focus was instant spot-on even in very low light with little contrast.
The AF-system is almost identical to that of the 1DX and that’s very impressive. I did a little bit of testing in continuous focus on a moving subject and it seems like the camera will handle that really well too.
The new autofocus system is already reason enough for me to upgrade.

I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

HIGH ISO

The 5D2 was already pretty good at high ISO, certainly if you consider the resolution. For reportage-style I usually found iso 3200 the top of the usable range. With the 5D Mark 3 I tried ISO 6400 and it looks perfectly usable, even 12.800 is perfectly fine. Even 25.600 looks acceptable for weddings and events. So I figure you win at least 2 to 3 stops of usable ISO range. I’m very happy Canon didn’t jeopardize high ISO performance by putting a ridiculous amount of megapixels on the sensor.

I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

OTHER IMPROVEMENTS THAT I LIKE

- I’m not shooting video with my DSLRs, so you should probably look elsewhere for more info about video. As far as I can see, there is no revolution in the video part but definitely an evolution with more options and better controls.

-  The on/off button is now positioned on the top of the camera, which is a more logical place

- There’s a lock-button on the mode dial to prevent accidental switching from for example Aperture Priority to Bulb.

- Dual card slot: You can now have a CF-card and/or an SD-card in the camera. To me this it makes me feel safer to have all files stored on two cards but you can only make the camera switch to the second card if the first one is full.

- Better Metering: I’m a manual shooter but I’m sure that there are a lot of people who can appreciate better light metering

- Six Frames/second: Not something I need very often but sometimes it certainly comes in handy.

- Less Noisy Shutter: The shutter is not as loud as the 5D mark2 and there are some options to make it even more silent.

- I’m sure there’s other things, but these are the most important (TO ME)

—–

DOWNSIDES

I haven’t found any negative points about the camera so far. Except maybe for the price. Here in Belgium, it will start hitting the shelves at around 3.500 EUR. That is definitely more expensive than it’s older brother. Off-course, I would have liked it to be cheaper but I’d rather have a higher price tag than a camera full of technical compromises to keep the price lower. The guys from Canon also told me that the 5D Mark 2 will stay in production for a while so there’s still a cheaper alternative.

I’ve uploaded full res unprocessed versions of theses files (EXIF included) to this Flickr set. Feel free to download the full res files for personal use. If you’d like to use these images any other way, please ask my permission first.

CONCLUSION

Canon has clearly listened to it’s user base and build upon the still great 5D mark 2. They have improved the good things and fixed the autofocus big time. My 5D mark 2 is nearing the end of it’s life after more than three years of hard use (or should I say ABUSE) and I will replace it soon with a 5D mark 3. I am very impressed with this camera.

—–

THERE’S MORE

The secret case from Canon contained lots of other amazing goodies like the 1DX, the G1X, the new 24-70, the 24mm IS, the 28mmIS, the WFT-E7 (new WiFi transmitter), the GP-E2 (new GPS receiver) and … the brand new Speedlite 600EX-RT and the Speedlite Transmitter ST-E3. I mainly focussed my testing time on the 5D mark 3 but I had a little play with some of the other toys too. I’ll blog about those in the next days.

There was this great haze and beautiful muted colors in the ambient light when Kobe got home from school. From experience I know this kind of light, when underexposed turns into this nice moody shades of blue if you play around with the white balance a bit and use it in combination with an orange gelled soft main light

The first idea was to just make a simple but cool portrait. As I found out last year with his communion photos, Kobe really know how to strike a pose.

In the next picture you can see the setup. Because the ground is muddy and uneven, I took Maya with us to hold the light stand, just in case. As the ambient light levels were really low, I could have done it with just a speedlight but took my Elinchrom Quadra instead. I haven’t used it that much for quick location shoots. It’s very small and light for a rather powerful studio light, but it’s still bulky and unhandy when you are working as a one-man-band and already have a heavy kit of DSLRs and lenses with you. For commercial shoots where there’s time, assistants and dedicated parking spaces that’s not a problem but if I’m out on my own I often find it too much hassle.

But with just the GX1 and the 20mm there’s suddenly a lot of carrying power that becomes available. In combination with the Quadra, an umbrella and a sturdy stand, it’s still a very comfortable kit to lug around. And I got the added benefit of having a more powerful and faster recycling light than a speedlight. But the most important reason why I choose the Quadra is LIGHT QUALITY. The design of a studio light just makes for softer, more even light without the hotspot you get with speedlights. I think I’m going to experiment a bit more with this setup for quick location portraits in the near future.

The portraits turned out quite nice but I felt we could do something more fun. I got the idea to make a picture with nine Kobes in it. By that time the ambient light was starting to disappear so I quickly grabbed my tripod from the car and we started racing the sunset.

I’m certainly not incredibly original with this idea but it’s fun to do. If you don’t know how to do this kind of composite, here’s how I did it for this picture:

- establish your scene and lock down you camera on a tripod
- shoot at least one picture with just the ambient light
- shoot nine different pictures without moving the camera
- don’t worry about the light being in the frame, just make sure you got at least one picture with just the ambient light
- try to previsualize the positions of your subject in the final picture. In this case it could have made a much nicer composition of the nine Kobes but I just didn’t have the time. So this was down and dirty.
- process all RAWs with identical settings open them in one Photoshop file as layers. (In Lightroom that’s selecting the images – right click – edit in – open as layers in Photoshop)
- make sure your ambient light exposure is on the bottom
- make sure all your layers are perfectly aligned. Despite using a sturdy tripod but without a cable release, some of the layers were a couple of pixels off.
- I then added layer masks to each layer to paint in just the subject. If your background exposure is the same in all pictures, you can easily get away with a rough lasso selection. But in this case the ambient light was dropping fast, causing slightly different background exposures for each file. So I had to do some painting in the layer masks to get it right.
- Something I’ve learned from some of the best retouchers is that you often don’t need to spent hours of painstakingly creating perfect cutouts with the pen tool. If all depends on how the picture is going to be used. This picture ended up on a 10x15cm card so nobody is going to see that the selections are a bit rough here and there by quickly doing it with the paint brush in a layer mask.

And there it is after 12 minutes of shooting and about an hour of post processing:

Happy birthday big boy! You’ve already given me so much joy, love, wisdom and a reason to exist.

As soon as I looked at the first pics I shot with the GX1 on my computer, I got the feeling that the GX1 could possible be more than an even better always-with-you-camera. Therefor I needed to test it in a real life situation: a photoshoot that would require me to create several different looks in a short amount of time.

I had a shoot scheduled with Sofie and she agreed to do it all with the GX1. Sofie runs a great fashion blog called Bien Sucré and needed some images for her business cards and other uses. Lots of different setups in only a couple of hours, seemed like a good stress test for the GX1. We started outdoors but couldn’t really find good locations that went with her outfit. The few decent places we found were so exposed to the cold wind, that we couldn’t shoot more than a couple of minutes. Here’s one of the few keepers:

1/200 – f/5.6 – iso 3200 – 12-42 lens @42mm

The new Panasonic 12-42 vario lens came with the test camera but being used to fast glass with a constant aperture of f/2.8, this f/3.5 to f/5.6 lens couldn’t really convince me. It has an electronic zoom which is probably great for video but not as fast and accurate to use as a good old manual zoom ring. The fact that I wasn’t too crazy about it also has to do with the fact that this must be one of the ugliest lenses I’ve ever seen. But it has to be said that the optical quality is amazing, certainly for that price. So I’m not saying it’s a bad lens, but some nice primes are more interesting (and unfortunately way more expensive) for photographers who want more control over depth-of-field and low light shooting.

After this cold adventure we decided to head back to the studio to come up with something useful. We started with a very basic setup with one speed light and a shoot through umbrella.

1/100 – f/5.6 – iso 160 – 12-42 lens @42mm

sdf

1/100 – f/5.6 – iso 160 – 12-42 lens @42mm

We moved on to a clamshell setup with the speedlite and umbrella straight above the camera and a silver Sunbounce mini under the camera as fill. I like how the clamshell light worked on Sofie’s face in the first picture but I wanted less depth-of-field. Therefor I switched to my Canon 50mm 1.4 with a cheap e-bay adapter. On the GX1, my Canon 50mm, becomes a manual focus 100mm f/1.4. It’s pretty hard to manually focus at that wide open aperture but with lots of shots and a bit of luck, we got the eyelashes in focus like I wanted.

For a bit of a retro look, I wanted to work with a white background. I could have setup a white seamless or my Lastolite HiLite but as we had little time, I just used my big Chimera Octa that was already setup in the studio. There’s an Elinchrom 600RX in the octa and it’s triggered by it’s optical slave. The main light is a speedlite. Some shots with an umbrella, some shots with just the bare flash.

1/100 – f/5.6 – iso 160 – 12-42 lens @36mm

1/100 – f/5.6 – iso 160 – 12-42 lens @36mm

For a fashion blog I thought it might be quite nice to have the setup included in the shot. And it helps you get an idea of how this was shot

I also played around with just the pilot light of the Chimera to see what kind of results I would get at iso6400.

1/125 – f/5.6 – iso 6400 – 12-42 lens @42mm

Looking for a different background, I saw one of my silver Sunbounces and figured it would make a nice background if I could get lots of reflections of it’s surface. I’m not a big ring flash fan and I must admit that I’ve only used my Orbis ring flash adapter one or two times since I got it a couple of years ago. But somehow it seemed like the right thing to do.

1/125 – f/5.6 – iso 200 – 12-42 lens @42mm

I just noticed I’ve written very little about the GX1 in this article and maybe that’s exactly the point. During this shoot and the post processing I hardly noticed that I was not shooting a pro DSLR. This got me thinking about my current gear setup, the kind of work I do, the kind of work I WANT to do more, budgets, investments, options, … but more about that as soon as I’ve figured it out.

And the GX1, I can be short about that: I bought one and made sure it got delivered before I had to send the test camera back

I picked up the GX1 with the new 14-42 lens and the EVF2 electronic viewfinder at Shoot magazine about two weeks ago and during the first few days I hardly shot any pictures with it. First of all, it looked ugly. That turned out to be the fault of the new 14-42 lens decorated with something like nine different fonts in three colors. With my good old 20mm 1.7 it looks fine. It may not look as retro-chique as the Fuji X100 or minimalistic design-ish as the Sony NEX but one of the main attractions of having a small camera is to be unobtrusive and that’s a lot harder with a piece of beautiful design. The GX1 is but  sober, maybe even a bit dull but it looks and feels very solid.

1/60 – f/3.5 – iso800 – 14-42 lens @14mm

At first I used the GX1 pretty much like my GF1 (and it’s limitations), meaning I shot mostly black and white up to 800 iso. The GX1 performed flawlessly and the extra megapixels are nice to have (but not a reason for me to upgrade). It wasn’t until I reviewed some really high iso test shots on my computer that I got blown away. That’s right BLOWN AWAY! It immediately became clear that Panasonic has concentrated on a better sensor and processing engine because the image quality took a massive leap forwards.

1/100 – f/1.7 – iso3200 – 20mm

With the GF1 I’d rather not go higher than iso 800 but with the GX1 I won’t hesitate to take it two stops further to iso 3200. Another thing that struck me is that the colors are really good, even at high iso’s. The color rendering in the GF1 was not very impressive.

1/100 – f/1.7 – iso3200 – 20mm

The first shots I took at iso 3200 were just taken for testing purposes. I didn’t believe it would be usable. But I was proven wrong. So let’s try to go even higher, iso 6400.

1/80 – f/1.7 – iso6400 – 20mm

Noise becomes pretty visible at iso 6400 but with just a touch of noise reduction in Lightroom, the pictures are actually usable.

1/80 – f/1.7 – iso6400 – 20mm

When you do a lab test, the images out of the GX1 may not be the cleanest when it comes to noise. There’s even some noise visible at lower iso’s. But it never becomes disturbing to me. It’s more like film grain than noise. It may be very personal but I really like the “look” of the GX1′s images.

With every images I looked at on my computer I’ve grown more enthusiastic about the GX1. To the point that it’s probably going to play a key part in some of my future work and projects. But that’s for part 2 of this review.

Here’s the setup:

In the studio I use mainly Elinchrom monoblocs because I find them the best studio flashes for a realistic budget. I’m also very happy with the support and the rental possibilities from Servix & Partners, the Belgian Elinchrom importer. For this shoot, I used a single Elinchrom Style RX300 monobloc. The RX300/600 ‘s are the reliable, fast syncing workhorses in my studio. The strobe is fitted with the small white Elinchrom beauty dish (with the silver deflector and the white “sock” to diffuse the light as much as possible). A silver California Sunbounce Mini reflector is placed under the camera for some fill from below. And that’s it. All the rest is just a matter of testing, metering, fine tuning and more fine tuning.

For the second part of the shoot I wanted to shoot half to full body with just one single hard light. Instead of going for a standard reflector, I got out my Elinchrom Maxi Spot reflector aka The Sun. This reflector is designed to bundle the light and throw it as far as possible rather than creating an even spread of light. I often used it on location with my Quadra when I need more power than I can get out of a standard reflector at full power. The Maxi Spot squeezes close to two extra stops of light out of the same full power pop of light than a standard reflector. The price you pay for the extra power is a less even light but I actually like the less perfect light from the Maxi Spot better because it looks more natural. Prior to this shoot, I’d never used it in the studio, but I will certainly start using it more. I loved the light it created. We placed it pretty far and high (about 6 meters away from the model and 3,5 meters high).

Sylviane is the most professional commercial/lifestyle model, I’ve ever worked with. She plays every role you want … except herself. It’s not that she doesn’t want to, she’s just so used to be asked to give the lifestyle smile and the commercial poses. The biggest challenge I’ve set myself for this shoot is to shoot PORTRAITS of Sylviane, pictures that say something about who she really is. I think I managed to get that. And the main reason why I got it, is that we took our time to set up and test our lights. And once we were happy with it, we forgot about it and focussed on getting Sylviane out of Sylviane.

Lucie surprised me with the intensity she threw herself into the second part of the shoot. Her energy blew me away. This was one of those few instances where you just have to concentrate on preventing your jaw to drop onto the floor and push the shutter button.

It helps that Lucie has lots of experience at high end fashion shoots. But she also told me afterwards that the atmosphere has to be right to reach her full potential. That made me realize to pay even more attention to setting the mood: music, drinks, a warm studio and even more important … the right team.

Inge Van den Broeck is more than a make-up artist. She does hair too and has a great sense of styling. On top of that she’s just great fun to hang out with. She certainly had a big part in making these pictures more than just a lighting experiment. Steve Bayens had the most unglamorous job on the set: the assistant. But his eagerness to learn, kept me focussed not to make stupid mistakes and his hard work, let me focus on the big picture and not on all the small but important details.

This was such an interesting experiment and lots of the things I’ve learned will find a way into my daily work. This proves to me again, that as a photographer you’ve always have to keep pushing yourself. What was the last time, you did a shoot, just to learn something new?

Am I in the market for a Nikon? I’m sure they make great stuff but so does Canon, so … not really. But I always try to look at new releases from the point of someone who’s looking for the best tools to perform his craft within a reasonable budget. My 5D2 is nearing the end of it’s lifecycle, it’s actually outlasting my best expectations. As long as it works fine, I’m not looking to replace it but chances are high, that I’ll have to invest in a new camera body this year. I was pretty exited when I had some brief quality time with the Canon 1Dx, and I still am. But I’ve also been thinking about the cost of such an upgrade. The D4 seems to be developed from the same strategy as the 1Dx: making the best possible all-round camera.

I don’t have enough hands-on experience with Nikon cameras to judge all the the practical improvements of the D4 over it’s predecessors. But my buddy (despite the fact he’s a Nikon user) Rob, wrote an interesting blog post about his first impressions.

What I see is that Nikon has clearly listened to the needs of today’s professional photographers. Lots of photography and marketing gurus advocate to specialize in one niche but the reality is that most professional photographers would return to being amateur photographers if they weren’t decent all-rounders. With their new flagship cameras Nikon and Canon seem to acknowledge this and focus on:

- Having enough pixels for most uses
- Not having too much pixels so they avoid excessive noise at high iso’s, compromise on speed and keep files small enough to manage
- good video options
- sturdy construction
- easy to operate
- fast and reliable autofocus
- building a camera that feels at home in a studio as well as in the desert of Iraq

This is all great news, except for one thing … price. At around 5.000 EUR these cameras are bloody expensive. Certainly now that many professionals are using 5D mark 2′s or D700′s that are only slightly less powerful than their big brothers but cost less than half. I’m pretty sure that the 5D mark 3 and the D800 will be announced soon. I’m damned sure they will be amazing but I’m not so sure they will be amazing for me and lots of photographers in a similar position. Rumors make us believe that there will be lots of megapixels (30+) which I don’t really need very often but will compromise high iso’s (which are way more important to me).

One side of me wants to pre-order a 1Dx because I’m pretty sure it will be the best all-round camera for me. But the other side of me just wrote “spending less money on gear” high on the list of goals for 2012. We’ll have to wait until we know more about the successors of the 5D mk2 and the D700.

I’ve got a lot of big plans for 2012, see you then!

I while ago I wrote about my plans to get new instructional videos out that would go far beyond my original Confession videos on Youtube. As usual with such plans, even the most pessimistic deadlines proved to be aimed too high as there was a lot of stuff to figure out.  But I’m glad (and proud) that I did push through. In short, in the Confession XL videos, I will take you on a shoot from start to finish, including the post processing.  Here’s the trailer for the new videos:

www.confessionsXL.com is a new site to host the new videos. At the moment it’s still a quickly put together iWeb site, but soon it will be the stylish home of all my instructional activities: blog, videos, workshops, …

The first Confession XL video is titled GF1 Guerilla Style. Here’s the trailer for it:

The video can be purchased on www.confessionsXL.com. The normal price is 9,95 EUR or 12,95 USD but until midnight tomorrow I’m offering it for the special introduction price of 7,95 EUR or 9,95 USD. So if you want to get yourself a last minute New Year’s present, hurry to www.confessionsXL.com.

Big thanks for all the great reactions from the early adopters btw. And I would really appreciate it, if you would spread the word.