{"id":3855,"date":"2013-07-03T06:36:18","date_gmt":"2013-07-03T05:36:18","guid":{"rendered":"http:\/\/www.phototechnique.com\/?p=3855"},"modified":"2022-09-05T17:09:27","modified_gmt":"2022-09-05T16:09:27","slug":"phil-sharp-profile","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/portrait_photography\/phil-sharp-profile\/","title":{"rendered":"Interview with Professional Portrait Photographer Phil Sharp"},"content":{"rendered":"

\u00a0<\/strong><\/p>\n\"Phil\n

In the short space of four years since first turning professional, 29-year-old portrait photographer Phil Sharp has made something of a name for himself. As a result, he now lists Universal Records, EMI, Apple, NME, and MTV \u2028among his clients.<\/p>\n

Not bad for someone who originally had his sights set on a career in the film industry, and whose initial reason for taking up still photography was to learn practical skills he could translate to a career in moving pictures.<\/p>\n\t\t

\n\t\t\t\"Phil\t\t\t

This was shot for a hair company and was the model\u2019s first-ever shoot. One tip I have for shooting hair is to have a softbox positioned directly above the head.<\/p>\n\t\t<\/div>\n\t\t\n

\u2018I was really interested in film up until about the age of 20,\u2019 Phil Sharp explains. \u2018I figured that if I learned how to take a good still photograph then I\u2019d also be able to make a good film. I had a place at a college in London to study film, but I didn\u2019t really like the course so I moved to another college [in Northampton] and I took up a course in photography instead. And from then on, I just kind of stuck at it,\u2019 he laughs.<\/p>\n

\u2018After graduating with an HND in photography I teamed up with a friend [fashion photographer Rhys Frampton] and we formed a creative agency together. We arranged some studio space for ourselves and just sort of bluffed our way forward as best we could. We got some big name contracts early on and although we didn\u2019t necessarily make the best job of them, we did learn the fundamentals of our trade.\u2019<\/p>\n

And what exactly are these fundamentals?\u00a0 \u2018Well, right from the beginning, I\u2019d always suspected that expensive kit isn\u2019t what makes \u2028a great photographer \u2013 vision and execution are the most important elements. Your kit \u2028can consist of anything from a pinhole to a Hasselblad, just so long as you\u2019re able use it to capture the essence of what you\u2019re looking for.<\/p>\n

We\u2019re interested to know where Phil Sharp falls within this equipment spectrum \u2013 does he \u2028prefer to work with a four-grand Canon EOS 1Ds Mk III, or a four-hundred-pound Pentax K200D? As it turns out, he\u2019s out on a bit more of a limb than that, plying his trade with a curious mix of proven medium-format quality and somewhat less predictable DSLR convenience. \u2018I\u2019d say that my kit has been cobbled together rather than purposefully assembled,\u2019 he offers by way of a disclaimer. \u2018As a result, I\u2019m using a Mamiya RZ67 Pro II medium format body, which I bought with a loan from the Prince\u2019s Trust, and a Kodak 14n DSLR, which I borrowed and then bought from a fellow photographer.<\/p>\n

\"Mamiya\u2018The RZ67 I use almost exclusively with the 110mm lens, considered by many to be one \u2028of the finest photographic lenses ever made, by anyone, anywhere. I still use the RZ67 to shoot film, although this may well change as\u00a0 medium format digital backs fall in price.<\/p>\n

While the RZ67 is a proven professional tool, we\u2019re more than a little surprised by Phil Sharp\u2019s choice of DSLR. Launched in 2003 the 14-megapixel, full-frame Kodak 14n was designed to rival Canon\u2019s 11-megapixel EOS 1Ds Mk I. But \u2028while the Canon was met with near-universal praise, the 14n received more mixed reviews \u2013 something Phil Sharp appears only too aware of.<\/p>\n

\u2018It\u2019s fair to say that the 14n has had its fair share of bad press,\u2019 he concedes. \u2018The main problem is that its sensor is unusable on anything other than ISO 80. Seriously, go up \u2028to even ISO 100 and shadow noise becomes \u2028a major problem. It\u2019s also basically unusable with any sort of long exposure, and by long \u2028I mean half a second or longer.\u2019<\/p>\n

So why use one at all? Why not switch to \u2028a more practical and less noise prone DSLR?<\/p>\n

\u2018Because when used correctly and with enough available light the 14n is a formidable beast, with excellent colour and detail,\u2019 he enthuses. \u2018Despite being quite restrictive, the 14n does force you to be more creative when using it. I do plan to upgrade it some day, but I haven\u2019t yet decided whether I want to migrate to a Canon EOS 1Ds Mk III or otherwise yet. It\u2019s a case of sitting down and deciding what\u2019s most cost-effective for what I want to do.’<\/p>\n\t\t

\n\t\t\t\"Phil\t\t\t

he girl in this portrait is a singer-songwriter from London called Katie Malcolmson. It was taken with a Contax 645 and a Phase One P25 digital back. The 645 is a really underrated camera in my opinion, compact and easy to use.<\/p>\n\t\t<\/div>\n\t\t\n

Phil Sharp\u2019s somewhat unusual choice of DSLR is matched by an equally unconventional \u2013 albeit currently in vogue \u2013 approach to how he chooses to light his subjects.<\/p>\n

\u2018In the past I\u2019ve used Profoto, Elinchrom \u2028and Bowens lighting rigs, but my main sources of lighting at the moment are three Nikon SB flashguns,\u2019 he explains. \u2018I worked with New York fashion photographer Nute Nicholson, and he was the one to explain to me that \u201clight is light\u201d, no matter where it comes from. With the more expensive lighting systems you get faster recycle times and more reliable and stronger power outputs, but the light is exactly the same.\u2019<\/p>\n

Does Phil Sharp have any tips about the process \u2028of using off-camera flash lighting that he\u2019d care to share with us? \u2018Well, I tend to start \u2028by taking an ambient meter reading so as to \u2028make sure I am capturing elements of the environment. Then I consider where to place my key light. Also, it\u2019s important to adjust the power of your flash in accordance with the available light,\u2019 he notes.<\/p>\n\t\t

\n\t\t\t\"Phil\t\t\t

This portrait of musician Paul Sumner was also taken with a Contax 645\/P25. I lit it using cheap flouro strips and to get the sharpness I converted it to black in white using Photoshop’s Gradient Mapping tool.<\/p>\n\t\t<\/div>\n\t\t\n

How would he describe his own style, and does he consider it to be one of the reasons his clients book him over other photographers?\u2028\u2018I think that a lot of people commission me because they want something a bit different \u2013 something that older photographers might not provide. I don\u2019t think that I\u2019m really all that well established yet, but certain agencies do seem to like my style. Despite being refined in many ways, I also think it\u2019s perhaps a little bit messy, perhaps that\u2019s what they like.\u2019<\/p>\n

What about post-processing, is that a large component of his work and individual style? \u2018Yes, I do a fair bit of post-processing work, and I\u2019m certainly not averse to it,\u2019 he replies. \u2028\u2018I look at it as being part of the process and I\u2019ve never really understood why people would be against it. For me it\u2019s another part of the creative process. I\u2019m not a huge fan of images that have been over-processed though; you have to do it subtly, in a way that complements the image.<\/p>\n

Finally, does Phil Sharp have any advice to anyone aspiring to work as a portrait pro? \u2018It might sound clich\u00e9d, but my main advice would simply be to keep taking pictures \u2013 as many \u2028as you can \u2013 all the time, pausing every once \u2028in a while to review and learn from them.\u2019<\/p>\n\t\t

\n\t\t\t\"Phil\t\t\t

The model is called Prudence and I shot her for a swimwear company. Nikon D200, 1\/160sec @ f\/6.3, ISO 100<\/p>\n\t\t<\/div>\n\t\t\n

Phil Sharp Profile – Phil’s Kit<\/h4>\n

Kodak 14n with 28-70mm Zoom Lens<\/strong><\/p>\n

A harsh mistress with a utility lens means I can travel light. The 13.7MP Kodak 14n may be old in digital camera terms but it forces me to be creative.<\/p>\n

\"ManfrottoManfrotto Tripod<\/strong><\/p>\n

It’s both light and sturdy enough for my needs.<\/p>\n

Mamiya RZ67 Pro II with 110mm lens<\/strong><\/p>\n

This is a great medium format camera and it’s coupled with one of the best lenses ever made.<\/p>\n

Cable Release<\/strong><\/p>\n

Helpful for doing portraits when you want\u00a0 eye-to-eye contact with your subject.<\/p>\n

MacBook<\/strong><\/p>\n

My laptop is an indispensable tool.<\/p>\n

2 x Nikon Speedlights<\/strong><\/p>\n

Easy to use and quite reliable, although I spend too much time buying and charging endless AA batteries.<\/p>\n

\"Nikon<\/strong>Mini Lumequest Softboxes<\/strong><\/p>\n

These fold flat for convenience and offer a slightly softer light when used with Speedlights.<\/p>\n

2 x Interfit light stands<\/strong><\/p>\n

Handy at times for light support.<\/p>\n

Lowepro Bag<\/strong><\/p>\n

I find that the foldaway waterproof cover is quite useful.<\/p>\n

Lastolite Reflector<\/strong><\/p>\n

I use this when a little extra light needs to\u00a0 be thrown onto the subject.<\/p>\n

Memory Cards<\/strong><\/p>\n

I usually keep around half a dozen 2GB\u00a0 and 4GB cards on me. It’s advisable to spread your work over several cards.<\/p>\n

Flash Hotshoe Extension Cable<\/strong><\/p>\n

A great way to learn the basics of off-camera flash and still my main lighting source.<\/p>\n

All Images by Phil Sharp<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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