Hi,

Sometimes we shoot an entire set with a single prime, but more commonly we would shoot each set with a small number of lens changes- as you say, every couple of dozen shots, or thereabout.

If there were such a thing as a “standard” photoset shot in a “standard” way, I’d probably start out with the 80 mm lens*, shoot the 20 or so shots that I thought looked great, swap to the 50 mm lens for 10 shots that need a wider perspective, then swap to the 120 mm lens for 15-ish closeups and some more compressed perspective shots. Then change the bondage or progress the storyline, and do the same circuit of 80-50-120mm for each part of the storyline. We certainly don’t plan to minimize lens changes and if we see a shot that looks great but needs a lens change, we just do it.

I doubt there’s ever been a set where we’ve actually done precisely that routine- you usually find that there’s one lens that gives the most pleasing effect given the space you are shooting in and the tie you’ve done (and the height of the model 🙂 ) So we’ll end up shooting the majority of the set with that one lens, but come in for different perspectives, overhead shots, closeups etc. with whatever other lens best suits.

We prefer primes for their optical quality. Swapping lenses is really only an issue in dusty environments because it vastly increases the risk of getting shit on the sensor. This doesn’t show up until you see the images on the computer and groan at all the photoshopping you’ll have to do.

In really tricky environments I fall back on the Canon 7D with an L series zoom, I usually use 24-70 mm which neatly covers my standard range of focal lengths. The image quality is acceptable, if not as stellar as the Hasselblad. The system has top notch pro environmental sealing against dust and rain and can shoot comfortably at higher ISO (dim light is also usually a factor that goes along with the general trickiness of such scenes in my experience).

The important thing with the zoom is to use it as a variable prime, so I try to keep my hand off the zoom ring for at least ten shots to force me to move around and get the best compositions for that focal length. Standing in one place and zooming in and out is a recipe for dull shots (and often compromised on image quality as well as you can risk not completing the zoom motion 100% or not steading the camera properly and get a tiny bit of shake as a result- often enough to turn a perfect shot into a borderline acceptable).

* These are medium format lenses, so the 80mm is a standard lens (equivalent field of view would be 50mm lens on a full frame 35 mm camera like the 5Dii or 35mm lens on an APS-C sensor camera like the 7D). Similarly the 50 mm is a mild wide angle (35 mm focal length would give the same field of view on full frame 35mm) and 120 mm is a mild telephoto portrait lens (equivalent to 85 mm on full frame 35mm). You don’t want to go any wider than that or you’ll produce unflattering distortions in the model’s proportions unless all parts of her are the same distance from the camera. Can be done for effect but sparingly. A longer telephoto can be useful especially on location, but probably 95% of all RE shots are taken with these three focal lengths, even when using a zoom.

Cheers, Hywel.

We will be shooting more tutorial videos for sure. Got a location video shoot to get through first (and have to write the Slave Auction script for it in the next few days…)

Cheers, Hywel.