PRINT

From pose to print: Clive Booth's shoot with a ballet superstar

Discover the input to output journey of portrait and fashion photographer Clive Booth as he captures ballet visionary Carlos Acosta with the Canon EOS R5 and harnesses the printing power of the Canon imagePROGRAF PRO-300.
A black and white portrait of a man in a black top and trousers posing across a chair in front of a window, leaning forward onto one toe and resting his hands on his leg.

Thanks to the super-wide f/1.2 aperture on his Canon RF 50mm lens, beauty and fashion photographer Clive Booth could separate ballet superstar Carlos Acosta from the background and make this portrait more intense. Taken on a Canon EOS R5 with a Canon RF 50mm F1.2L USM lens at 1/1000 sec, f/1.2 and ISO200. © Clive Booth

Canon Ambassador Clive Booth is renowned for his atmospheric fashion, beauty and commercial work, but he began his career as a graphic designer. This has given him a passion for the entire photographic journey from input to output, and he has recently been turning his stunning images of ballet director and dancer Carlos Acosta MBE into detailed large-format photographic prints using the Canon imagePROGRAF PRO-300.

But how do you capture the radiance of an internationally renowned ballet superstar in static studio portraits? That was the challenge posed to Clive when he set about photographing Carlos for a special anniversary issue of Digital Photographer magazine.

"When I was asked to guest edit the 250th issue of the magazine, I thought, 'What a great opportunity to go to Birmingham Royal Ballet,'" says Clive. His relationship with the BRB began in 2017, when principal dancer Tyrone Singleton came to a talk that Clive was giving at The Photography Show. Clive has now worked with Tyrone and the BRB on several ambitious projects, including the launch of the Canon EOS R.

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The timing for the shoot was perfect, as Clive's portraits would be used to promote a new production of Don Quixote that Carlos was directing. He says, "I knew that working with Carlos would be a once-in-a-lifetime opportunity, as well as a fantastic feature for both the magazine and printing."

A black and white portrait of a man's face and shoulders. His hair and top are black and disappear into the black background.

"The most important thing about any shoot is what's happening between your camera lens and the subject," says Clive, who relied on the EOS R5's eye-tracking autofocus to interact with Carlos more deeply. Taken on a Canon EOS R5 with a Canon RF 85mm F1.2L USM DS lens at 1/250 sec, f/1.2 and ISO800. © Clive Booth

 A black and white portrait of a man with his arms crossed in front of him. One hand is on his shoulder and the other is posed in the air in front of him, close to the camera.

During the shoot, Clive explored different angles and poses, calling on Carlos' elegant lines and theatricality as a professional dancer. When shooting a subject like Carlos, Clive says you should "always think about the performance". Taken on a Canon EOS R5 with a Canon RF 50mm F1.2L USM lens at 1/250 sec, f/1.2 and ISO200. © Clive Booth

A dancer's eye

The shoot with the dancer-turned-director took place in a studio at the ballet company's home, Birmingham Hippodrome. As it was Clive's first major post-Covid job, he admits to feeling pressure. "I'm always scared of failure and I get so nervous before a big shoot, but that fear ensures I plan properly," he says.

On the day, Clive had Tyrone Singleton on hand – himself an accomplished photographer – to offer his dancer's eye and some dynamic posing suggestions. "​​I know I can call on the expertise of Tyrone to tell me what to look for," continues Clive, "such as whether Carlos' hands and poses are accurate."

A photographer kneels down to take a picture of a man sitting on a chair with both hands in front of his face. Another man kneels at the side holding a large reflector.

A reflector helped ensure the natural light lit up both sides of Carlos without creating shadows.

The EOS R system: the ultimate enabler

Clive's go-to camera is the EOS R5, and its 45MP sensor offered plenty of resolution for detailed portraits and later prints. He describes cameras as enablers – tools that are no different to using a pencil or a paintbrush – and has put his faith in Canon gear for 20 years.

"As a photographer, you're an artist, you just paint your pictures with a camera," he says. "The reason I use Canon is because it enables me to do the most. In my opinion it has made the most technologically enabled cameras both from the point of view of hardware and software, and this releases me to form that bond with my subject." The camera's built-in image stabilisation enabled Clive to shoot entirely handheld, even in low lighting, which freed him up to try plenty of creative angles.

A black and white portrait of a man's face and shoulders, one hand to his neck. His hair and top are black and disappear into the black background.

Clive wants to focus on the visuals of image making, and the Canon EOS R5's exceptional autofocusing abilities allow him to do that. "Canon's eye-tracking autofocus is so good, it enables me to think about everything else the camera is doing," he says. Taken on a Canon EOS R5 with a Canon RF 50mm F1.2L USM lens at 1/80 sec, f/2.8 and ISO800. © Clive Booth

A black and white portrait of a man with his hands clasped in front of him, obscuring his face.

Using the Canon EOS R5 in Aperture priority (Av) mode allowed Clive to remain in control of the aperture, which was set wide open in keeping with his style. Taken on a Canon EOS R5 with a Canon RF 50mm F1.2L USM lens at 1/50 sec, f/2.8 and ISO200. © Clive Booth

The right type of focus

With only a limited amount of time together, it was important for Clive to maintain a connection with his sitter and draw out the most expressive poses. Using the Canon EOS R5's advanced eye-detection autofocus, he was confident of getting sharp results where it mattered.

"With a Canon EOS R5 or Canon EOS R6, even a Canon EOS R, when I'm shooting a portrait and switch to head and eye recognition to focus, I can just completely let the camera do that side of the work," says Clive. Because the EOS R5 has an AI-based ability to track and detect the eyes of subjects, the autofocus locked onto Carlos' face accurately, even when his features were obscured by his hands.

Helen Bartlett stands next to a Canon imagePROGRAF PRO-1000 printer looking at an A2 black and white photo print.

How to make the perfect monochrome print

Family photographer Helen Bartlett learns about printing her black and white images on a Canon imagePROGRAF PRO-1000.

Shooting with RF lenses

Many photographers view 85mm as the ideal focal length for flattering portraits, and Clive used the Canon RF 85mm F1.2L USM DS on this shoot. The Defocus Smoothing coating on the lens softened the defocused areas of the image and helped him to achieve the beautifully blurred, subtle backgrounds that he is known for. While Clive attributes building his career with the EF 85mm f/1.2L II USM lens, he says: "The RF version takes the brilliant focal length to new levels with increased speed and sharpness."

The Canon RF 50mm F1.2L USM lens was also vital for some more intimate close-ups. "I've had the 50mm since the launch of the EOS R. I absolutely fell in love with that lens and it's still my favourite to this day," says Clive.

A Canon imagePROGRAF PRO-300 prints a black and white portrait of a man in a black top and trousers posing across a chair in front of a window.

Clive used the Canon imagePROGRAF PRO-300 to produce a set of large-format portraits of Carlos. Stylish but compact, this professional A3+ printer fits easily into his busy photography studio. "Nothing is going to replace the power of a physical print," says Clive. "You don't put your smartphone on the wall." Taken on a Canon EOS R5 with a Canon RF 85mm F1.2L USM DS lens at 1/125 sec, f/2.8 and ISO200. © Clive Booth

A Canon imagePROGRAF PRO-300 prints a black and white portrait of a man in a black top and trousers posing across a chair in front of a window.

Clive's early career as a graphic designer has given him a wealth of knowledge about printing and image file types. "The final files are exported as 16-bit TIFs at full-resolution, which means I can make fine-art archival prints to just about any size," he says. Taken on a Canon EOS R5 with a Canon RF 50mm F1.2L USM lens at 1/125 sec, f/3.2 and ISO800. © Clive Booth

The Dual Pixel RAW advantage

From the outset, Clive knew that his portraits would be printed in Digital Photographer magazine, so he shot in Canon's Dual Pixel RAW mode to ensure the highest quality, and to enable him to access advanced adjustments when editing. "It definitely makes me think differently when I know I'm shooting for print," he continues. "You're almost imagining that ink on paper. My process is always to shoot RAW, as I want to extract the greatest amount of data from the file.

"With Canon, shooting DPRAW gives you extra advantages, as you can use Digital Photo Professional to access excellent tools like micro adjustment and bokeh shift," Clive continues. His DPRAW images were shot in colour, but then converted to black and white in Adobe Photoshop Lightroom Classic to create a timeless feel. He prefers to keep that part of the process as simple as possible.

"Some people have very complex ways of doing a black and white conversion, but I use a standard profile in Lightroom Classic," he says.

A man sits at a desk next to two cameras, working at a laptop and with a large monitor that shows a large selection of portrait photographs.

Clive had to cut down his final selection of images from almost 1,700 RAW files. When asked about how he made his choice, he says: "A good print has to show something unique and different."

A print finish

As part of the job, Clive also wanted to make his own set of large-format prints that could be presented to Carlos and the Birmingham Royal Ballet. He turned to Canon's Professional Print & Layout application and soft-proofed images for the Canon imagePROGRAF PRO-300 printer. "You can start to get a feel for what your picture is going to look like, and some of the sliders are amazing with what they can do," says Clive.

"You can read the depth map data from the DPRAW files," he continues. "There's a checkbox called Contrast Reproduction, which improves the sharpness degradation that you get when you print – with your paper in mind. Taking you from a soft-proof on a calibrated monitor to accurate contact prints, it's a no-brainer."

The software also offers him profiles, plug-ins, tone correction, layout designs and even borderless printing in one neat package.

A Canon imagePROGRAF PRO-300 prints a portrait of a man's face and shoulders. Next to the printer is a Canon camera and lens and several more prints of the same man.

"Print is about passion. It's emotive, it's beautiful," enthuses Clive.

Archival quality

Rather than sending his portraits to a professional print lab, Clive enjoys making gallery-quality prints at home. "With the printers that we have now, you can actually realise the image that you've seen in your mind's eye," he enthuses.

Thanks to the Canon imagePROGRAF PRO-300, in combination with Clive's favourite Hahnemühle FineArt Pearl paper, he could produce A3+ prints of Carlos at archival quality. He chose a dedicated Matte Black ink to give his monochrome images vivid blacks. "The PRO-300 comes with 10 LUCIA PRO pigment inks, and these produce really deep tones for black and white printing," he adds.

Passion for print

Ultimately, Clive believes that we should all appreciate photographs in a physical form. "A set of prints in a handmade portfolio with a certificate of authentication is a very special thing," he says.

"I would encourage everybody to try making their own prints, to just enjoy the process of input to output, because it really is so rewarding."

Shkruar nga Lauren Scott


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