Page 30 - Amateur Photographer - August 5, 2017

STILL LIFE

specific purpose over a long
period of time. As I look
around, I can see just about
everything a still-life photographer
would ever need squirrelled away
somewhere on the shelves or boxed
up on the floor.
‘Backgrounds are vitally
important in my work, and choosing
something that works and is
sympathetic to the subject is half
the battle,’ says Tony. ‘Dublin isn’t
like London with its prop hire
outfits, so I’ve evolved my own
collection out of necessity.’
He adds: ‘Photographing cameras
and lenses is an almost unnatural
process. I’m very much working in
a bubble here, taking all the time I
need and making all the creative
decisions myself. Attention to detail
is key, and so is absolute cleanliness
as I don’t want to spend all my time
removing dust spots.’
© TONY HURST
Tracing paper © TONY HURST Nikonos photographed on a paper engineering background Nikon F2 and 50mm f/1.4 Nikkor with Sport Finder

and Softfrost inspired by The Great Wave off Kanagawa by Hokusai (1971-1980) on Perspex and pebble background
of material he’d amassed over the
After sorting out the camera and
background combination, the next years. There were folders within
ONE OF the most conspicuous and
significant modifications to the basic stage in Tony’s photographic folders that formed a unique record
lighting in Tony’s studio is the sheet process is the lighting. This is of the Nikon brand and its history.
of diffusion material hanging from undoubtedly the most vital
a boom arm or made up as frames. ingredient and is significantly more Tony’s gear
Adding extra layers of diffusion to an than just arranging flash heads The lens that almost permanently
already soft light not only gives an around the set. Standard and spot resides on the front of Tony’s Nikon
extraordinary softness to shadows, dishes are shone through diffusers D3 is the Micro Nikkor 70-180mm
but it also enhances saturation. to create pools of light. Black card f/4.5-5.6 zoom. He loves the
‘I can bend, fold and shape the and other materials shade and Tony Hurst’s images flexibility this combination brings
material to give exactly the effect shape highlights and shadow areas, feature regularly to framing and composing the
I require,’ says Tony. ‘Shadows are while the all-important mirrors pick in AP, adorning the picture almost as much as the
gone. Placed in front of multiple out minute details, throwing light Grays of Westminster camera’s legendary resolution. In
hard sources, this dense filter will into seemingly impossible-to-reach advertisements. He also fact, he still favours the D3 in vivid
transform the beams into a single crevices. Sometimes these mirrors contributes to the Nikon setting over his Nikon D800. ‘The
source of evenly dispersed soft are so close to the subject that Historical Society’s D3’s JPEG images just sparkle, and
light.’ It looks deceptively simple, multiple exposures are required publications. Visit suit my way of working,’ he says.
but patient, skilful use yields so the mirror can be removed from www.nikonhistorical A number of Bowens Gemini flash
extraordinary results for Tony. the final shot in digital editing. heads with various softboxes and
society.com and www. light shapers provide Tony’s
The Nikon link graysofwestminster. illumination, but it’s the tracing
I couldn’t tie Tony down to co.uk. paper, diffusion material, reflectors
numbers, but many hundreds of and mirrors – along with a lifetime
exquisite cameras and lenses have Grays of Westminster of experience – that help create his
© ANDREW SYDENHAM
received his rather special has produced a special stunning images.
treatment over the years. signed, limited-edition ‘I could never do without my
Everything from Nikon mugs to book called Grays of studio camera stand,’ he says. ‘I lock
branded clocks and watches line Westminster Presents it off and it just won’t move. I’ve
the shelves in his studio, and it’s The Legendary always hated tripods in the studio
fitting to see Nikon products as they are far too easy to knock.
being photographed by a Nikon Photography of Tony And handholding? Never.
enthusiast, with a Nikon camera in Hurst. There are 100 ‘As for going back to shooting film,
a Nikon environment. While we images to celebrate 100 that’s not going to happen,’ Tony
were sitting at Tony’s workstation years of Nikon. To order adds. ‘I can edit a shot, revisit it the
selecting his favourite images to a copy, email info@ next day, see something different
Tony Hurst painstakingly removes illustrate this feature, I was graysofwestminster. and change it, so it’s too much
specks of dust from a Nikon F overwhelmed by the sheer volume co.uk. of a luxury to relinquish.’

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