T Nihal

(below) BBC DJ Nihal is a great-looking fella, so you can't really go wrong. The photograph was originally shot with a golden background but I decided that it worked better in black & white.


Nikon D3X what lens?

Nikkor 24-70mm what exposure?

1/[email protected]/13


This image was taken for The Armstrong and Miller Show. I worked on the first and they asked me back to shoot the second.

what camera?

what lens?

50mm what exposure?

1/[email protected]/16

costly technology

Adam notes that, even when earning money from photography, keeping up with the technological advancements of digital can put as much of a strain on the bank balance as it would any other photographer.

'I get seriously hacked off with how much money is needed to be spent to stay on top of your field with digital equipment,' exclaims Adam. 'I've recently upgraded to a Nikon D3X, and needed a new lens to accompany the new body, and all of the sudden my wallet is hit to the tune of some £6,000.

'It's the knock-on effect that really irritates me, however -1 went to process my first D3X Raw files and found that Capture One version 3 can't read them. No problems, I thought, I'll just upgrade to version 4. But when I do, I find that it only works on Intel-based Macs, so out with my perfectly functional G5 desktop for an upgrade as well!

'All professional photographers crave improvements in technology to make our jobs easier and results better, though when it finally comes we have to fork out all of our precious profit on it.'

workflow evolution

It's clear that the world of digital has upped the expense and frequency at which Adam replaces his kitbag, but that's not the only impact the transition has had on his photography. 'In the days when I was shooting film, the post-production stage was pretty simple. At the end of the day we would take the film to the E6 lab for processing, head off for a pint and that was that.'

These days, the production process is slightly more complex, as Adam explains. 'The day begins with my assistant meeting me at my house, helping me sort through my mountains of gear and loading it into the car. We then head to the studio or location for the day's shoot and begin setting up.

'When I'm shooting in a studio, I normally shoot tethered from a Phase One P30+ back.

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