Photography News 114 - Newsletter

Fujifilm

Automotive exotica and the FUJIFILM GFX100 II. For photographer Rupert Cobb, it’s a podium-topping combination A camera to get revved up about ADVERTISEMENT FEATURE

Cobb’s route into the Fujifilm system began when he bought the FUJIFILM X-E2 second hand and “instantly fell in love with the colour space and how flexible it was. So, I looked for what an equivalent might be to what I was using in the studio. We’re all about getting it right in camera – and the GFX100 proved to be a game changer overnight. “There’s a texture to the sensor that I love – I’m always after that,” comments Cobb on the look of the visuals from the latest GFX100 II. “The 30mm tilt-shift lens is good

Cobb has coupled his GFX100 II with a pair of tilt-shift lenses in FUJINON GF30mm f/5.6 T/S and GF110mm f/5.6 T/S Macro. “These tilt-shift lenses represent another jump in quality. The 110mm is a macro-capable lens long enough to bring you back and out of the way of your own light source. You can move the plane of focus to where you require, while still keeping a narrow depth-of-field. The other benefit is you can stay in the sweet spot of the lens. It’s worth spending time finding what works for you.”

as possible, and photographing medium format gives that detail,” he continues. “One of our clients is very specific about the detail shots. The pictures must have a narrative, a story in the image. “You might think ‘how can there be a story?’. Yet, behind the dashboard of this Ferrari are all the stickers and signatures from the pits of Le Mans as well as races around Europe. If you shoot medium format, you have got every detail and can almost smell the exhaust smoke of that day.”

PHOTOGRAPHING THE WORLD’S most prestigious motorbikes and cars against an infinity cove large enough to showcase up to three cars at a time, Rupert Cobb is passionate about telling the history inherent in every nut, bolt and serial number. “A lot of passion has gone into these vehicles, so it’s our responsibility to continue that passion,” he reasons. “With the infinity cove, it’s all about quality bounced light – Fujifilm’s colour space works incredibly well with bounced tungsten light. We still

use old fifties lighting since it’s the only other light source as smooth as the thing in the sky! If you use a nice lens on a tungsten light and focus it in on the wall of the cove, you can highlight the curves of a car in such a beautiful way. Marry that with the FUJIFILM GFX System and it’s a partnership made in heaven.” The exact tool used to visually describe the vehicles’ majesty is the 102-megapixel, medium format sensor of the FUJIFILM GFX100 II. “I want to make everything as future-proof and high-quality

14 Photography News | Issue 114

photographynews.co.uk

Powered by