Original subtitles

So this is my studio. We're in Mayfair in London.

I basically, during lockdown,

changed it up a bit

and put up these black curtains

and gallery lighting,

so that we can do exhibitions in here as well.

So this is an exhibition of my Bond pictures.

I did a collaboration with 007

from the 17 years working on Daniel Craig's Bond films.

So these are prints that are in the process of being signed.

And then this is the main space.

So you'll see, we've got the pictures on the walls.

We've got a hair

and makeup room back here,

a grip room here,

and a really large bar for events

and stuff.

We got a shop that we sell our products,

but then all these curtains pull back

to reveal our sort of backgrounds.

This is the Barger Baglite that I do probably 90%

of my lit portraits on. It's a very versatile light.

It's the one that has three different power leads.

So it's a six kilowatt light,

but each one of these leads is two kilowatts,

and that means that I can plug it into different parts

of a house power, just with extension leads

and run a really powerful light off a house power supply.

So that's my standard light.

That's a mediu- that's a small, sorry,

Chimera Softbox, called Quartz Chimeras,

'cause they don't catch fire.

Like, if you use a normal strobe lightbox,

it'll catch fire, so these are fireproof.

And that's got a egg crate grid on it,

which gives a very sort of directional soft light.

And then, whenever we want to,

we can just pull the curtain shut

and we're back to a gallery.

So that's my space in town.

What we have here are my camera bags.

I'm a bit of a show-off now, 'cause I designed both of them,

the bottom one with Globe-Trotter

and the top one with Billingham.

It's quite interesting.

I've used a Billingham bag since I was 18 years old.

So there's photos of me in,

I don't know, there's one in Sierra Leone,

and there's me using a version of this bag

and I did a version, I've got this black

and gold thing going on.

Same with the Leica that I designed.

And then this with Globe-Trotter.

So this is what I travel with,

as in getting on planes travel,

and I take it around.

And then I basically take cameras from this bag,

stick them in this bag

when it's just me walking about, so.

So again, black

and gold, got this color thing going on,

I'll show you my Leica as well, that has it.

But anyway, so this is how we've got this set up.

It's got both my film cameras

and my stills cameras in it.

I'll quickly show you the film camera,

this is called the Red KOMODO,

and it's absolutely fantastic 6K camera

and I've got it set up with a Leica mount

so I put my Leica lenses on it.

So I tend to put a 24 mil Leica M lens on that,

manually focus,

and then, I've got, on the back here,

you'll see, all my batteries, battery charges, microphones,

all that sort of stuff for the Red.

But then stills-cameras-wise,

I use two Leica SL2s,

and I only use long lenses really, with these cameras.

I have a mount, which means I can put some

of my, oh that is a long lens,

but some of my wider, Leica M lenses on it too.

And then I have two lenses.

The one I use the most is the 75 mil,

and then there's a 90 mil as well.

Also in here, are my memory cards

and these are tiny little LED lights

that I can pop on a camera or have if I need to.

Again, battery chargers, batteries,

and then here's one of my Leica Q2 cameras.

I only have space for one of them

because the other Leica Q2 is always either

around my neck or in my shoulder bag.

Also got my little flash guns.

This is the Fuji EF-X20,

and it just clips on here,

and the flash is very close to the lens

and it gives these very defined, sharp jawline shadows

that just works really well.

It looks fantastic in black

and white.

The pictures sort of, have this sort of,

feeling of being at sort of, like Studio54 in the late '70s.

It's got a really, really nice look to it.

And then sound-wise, I've got,

that's a microphone, it's this stereo mic by Sennheiser,

and with a little wind sock on it.

And then here are my radio mics,

and that clips to the camera

and does sound sync.

And this is the same as the one I'm wearing on me

at the moment, which is how I can have a mic on two people,

often one on me

and one on my subject.

This is the Billingham Bag, that I've just designed.

Again, black

and brass, black

and brass is a bit of a thing with me.

I designed this camera with Daniel Craig

and it's a limited edition Leica Q2.

And again, it's black

and brass.

It's the, sort of this gold-colored-badge is the,

well apparently the first ever gold badge,

but I saw a brass one they made like a hundred years ago,

but, so it's either the first ever,

or the first in a hundred years,

this is a particularly special one.

I got the, you know that glow-in-the-dark stuff

you get on your watches?

Well, I got that

and put it along the automatic,

so that when you're out at night,

you can sort of see your way back to automatic,

and it's also got a quote on the top of it

from William Blake, which is

"To see a world in a grain of sand."

And that was a quote that my dad gave me

when I went off on my first foreign trip,

when I went to Burma, when I was a kid.

I got smuggled into Burma when I was 19

and photographed the war,

and my dad gave me that quote.

I basically debus the kit that I'm using,

if I'm out for a day

and then I can just sling this bag on my back.

It's also got my laptop in the back of it.

And we make these at two sizes.

This is the larger one,

and then we make a really small one as well,

called the PRO Mini.

Part of the theory with this bag is

that it just doesn't look like a camera bag,

it looks just like a, sort of,

nice, posh carry-on bag.

So, that's that. (whistling)