CASE STUDY HORSES FOR COURSES
When it comes to camera choice, Spurdens invests in the very latest technology and had four cameras on hand for his stallion shoots. He took his collection of a Red V-Raptor, Red Komodo, Canon C300 Mark III and Canon R5 C. There was a Zeiss CP.3 to cover the Raptor’s 46.3mm sensor, plus Canon RF glass. The C300 Mark III had an 18-80mm CN-E and the rest was Canon’s EF-mount L glass which can be used via adapters. “All cameras are placed on top-of-the-range Vinten and Sachtler sticks, or a DJI gimbal. The monitors are the excellent SmallHD Cine 7 and 702 Touch for bright daylight viewing, or a Zacuto EVF for those really sunny days – or when I just prefer it,” says Spurdens. “A monitor is great for when something special happens; the client can review it and be excited that their budget is being well spent.” For the stallions project, the main lens turned out to be the Canon RF 100-500mm, a zoom that’s really a stills photography lens. “It was because of the photographic focusing ring, as it’s a very short throw. With the Raptor set at 4K/240p HQ, the zoom means it would go past any vignetting as it is designed for 35mm full-frame sensors. A variety of NDs thanks to a Polar Pro ND system were used, along with a gradual ND to darken the clouds – for a moody look which we all love.” Depending on how the horse was performing, sometimes Spurdens chose the Canon C300 Mark III; controlling the 18-80mm CN-E zoom with the rocker under his right hand, focusing with his left. “This paid off well with one particular, feisty stallion who ran close. The run produced a shot
the client loved and is being used a lot. I’m lucky to have these four cameras to choose from on a daily basis. The familiarity of them all allows me to make fast, intuitive adjustments,” says Spurdens. “To show the stallions in all their splendour and glory, super slow-motion rules. It allows the viewer to see every muscle, tendon and their elegant running action. Watching the stallions almost flying over these huge paddocks is inspiring, a vision of sheer capability and noise that not many animals can provide.”
PONY EXPRESS Racehorses don’t perform on demand when in a paddock – you have to be prepared to shoot when the action happens. Contre-jour shots (below) are a real test of lens and sensor technology, so you need the best
“To show the stallions in all their splendour and glory, super slow-motion rules. It allows the viewer to see every tendon”
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