Mothers who pay photographers hundreds of pounds a day to take their holiday snaps

Posing for a professional photographer on an expanse of white sand in St Lucia, Naomi Isted’s clothes are impeccably color-coordinated with those of her husband and children, their smiles as bright as the Caribbean sunshine.

Bemused onlookers peer over their sunglasses eager to fathom the scene before them. Could they be models showing a new range of family beachwear, or perhaps they’re famous?

In fact, neither is true. They’re just an ordinary family from Hertfordshire who’ve taken the extraordinary decision to hire a photographer for their holiday — paying him hundreds of pounds to ensure their picture-perfect, sunkissed memories are caught on film.

“It avoids the risk of getting rubbish pictures, or photos of only three of us at a time,” says Naomi, 44, a broadcaster and interior designer married to property developer Haydn, 50, with whom she has children Fleur, 13, and Rocco, eight. ‘In the past, if I wanted photos of me with the children I’d have pester Haydn to take some under duress. The results were often so poor I wouldn’t want to show them to anyone. Then I found a photographer in the Turks and Caicos in 2017, and haven’t looked back since. My kids smile for the camera when there’s a stranger behind it, and that means we get a gorgeous set of pictures of all four of us taken in as little as half a day.’

Welcome to the indulgent world of vacation photography. You might think the practice would be limited to image-conscious celebrities, but it’s a fast-growing trend with many ordinary people. Forget switching off with a book and leaving your hairdryer at home when the kids break up for the summer holidays. In the era of Instagram perfection, even a family beach holiday demands glossy photos for your grid and expertly filtered smiles for the Christmas card.

Naomi (pictured), 44, is a broadcaster and interior designer married to property developer Haydn, 50, with whom she has children Fleur, 13, and Rocco, eight

And women, in particular, are ready to part with thousands for the privilege. Companies such as Flytographer and Angel are cashing in on the boom, connecting travelers with photographers in their holiday destinations.

Nicole Smith founded the former a decade ago. ‘Since then, we’ve had tens of thousands of people use our services to hire a photographer around the world, including solo travelers, couples and more than 20,000 mums,’ he said. ‘It’s so important for mums to get into the photo instead of always being the invisible one documenting the moment.’

For Naomi, hiring a vacation photographer is as much a part of a family holiday as buying a new bikini. In the past six years, they’ve had multiple shoots in St Lucia, Los Angeles, Turks and Caicos and Miami, their long-haul destinations of choice.

Prices start from £300, depending on the photographer and duration. The family’s most recent shoot, during the Easter holidays, was a six-hour stint in St Lucia costing around £100 an hour, for which they were all dressed in white and blue.

‘I always have colors and outfits in mind, and plan them when I’m packing our cases. My husband and kids don’t enjoy the shoots, but they prefer them to the alternative, which is pestering them for photos throughout the holiday,’ she says, sometimes revealing that she hires a hair and make-up artist to get her camera-ready, too. (You can add on another £50 an hour for that.)

‘My husband would prefer to be lying on the beach with a cocktail, while the children would rather be in the sea. There have been many moments when I’ve told them we’re having a shoot and their reaction is: “Oh, please no, it’s so boring!”‘

Veterans of holiday photography know that getting your oh-so perfect photos means military precision planning to avoid possible pitfalls. Naomi once booked a photographer for the start of a Caribbean holiday, with the family’s skin still pasty from a British winter, saving for sunburnt shoulders and noses.

‘Now I book the shoot for the end when we’re tanned, and make sure it ties in with the most photogenic locations or activities. I post them on Instagram, and use them for family Christmas and birthday cards. This summer, we’ll be holidaying in Florida and California, and I’m now looking for photographers.

High-end stylist Oriona Robb (pictured), 46, has spent the past ten summers in various glamorous rented villas on the Algarve with her husband, Colin, 52, an investment banker, and their daughters, aged 21, 15 and ten

High-end stylist Oriona Robb (pictured), 46, has spent the past ten summers in various glamorous rented villas on the Algarve with her husband, Colin, 52, an investment banker, and their daughters, aged 21, 15 and ten

‘People may say it’s an absurd luxury, but I’d argue that you can’t put a price on capturing memories we can then treasure forever.’

Hannah McClune is another devotee of hiring vacation photographers — even though she’s a professional photographer herself. “Before, it was always me taking pictures on holiday, but rarely appeared in them,” says Hannah, 41.

She lives in Reading with husband, Neil, 44, a finance manager, and their sons, Myles, 12, and Alexander, nine. ‘It would feel like work.

‘So when we flew to the Dominican Republic a few years ago, I knew there must be plenty of photographers on the island. I found a great one on the internet and briefed her to take candid shots of us all wearing white on the beach.

‘She and her assistant drove us to a remote beach and snapped it away as we played football.

‘I took a variety of outfit changes, mostly color-coordinated T-shirts, shorts and swimwear in bright shades to reflect the tropical vibe. The boys did get fed up, but we gave them snacks while the photographer took shots of me and my husband in the sea — the first photos on our own since our wedding day in 2009.’

The half day’s photoshoot costs around £700. Another in India two years ago was £300. ‘We holidayed in Kerala and the photographer turned up with three assistants,’ Hannah recalls. ‘We were up at 7am to go to a tea plantation. But it wasn’t quite as successful as the Dominican one, because the photographer staged a lot of the photos.

‘We only had one outfit change into swimwear there as we were traveling in a taxi, so there wasn’t really anywhere to change.

‘The kids sometimes complain, but it’s all over and done within a matter of hours. My advice is to have a shoot towards the end of a long-haul holiday so the kids aren’t jetlagged. The best way to find a photographer is on Instagram and look for one with a photographic style similar to what you want.

Photographer Juliet Lemon, 41, specializes in wedding, corporate and wildlife photography, but since 2013, well-off families have also been hiring her to travel with them to document their holidays. Charging upwards of £2,000 a day, Juliet recently spent eight days in Finland with one family, snapping their adventures in the Arctic Circle. She’s also been to Palma, South America and on multiple safaris.

She says: ‘The clients who flew me to Finland wanted to be fully immersed in the holiday, not fretting about taking photos,’ explains Juliet. ‘Having me there meant they could enjoy those magical moments of husky sledging, reindeer feeding, ice fishing or watching the Northern Lights, while I discretely snapped away.

Joyce, 59, is single and lives in Reading.  Joyce was so blown away that she planned her Cappadocia trip entirely around a photoshoot

Joyce, 59, is single and lives in Reading. Joyce was so blown away that she planned her Cappadocia trip entirely around a photoshoot

‘I accompanied one family on a multi-generational holiday to Africa, photographing them in the desert and watching whales at sea. Since the trip the grandfather has died, meaning the photos I took are now even more precious to his family.

‘Of course, there have been more challenging clients, too. One memorable woman hired me to travel with her, but often canceled our day’s shoot at a moment’s notice if she wasn’t feeling in the mood.’

As Juliet points out, there’s a big difference between snapping away on an iPhone and having an experienced photographer, who understands lighting techniques and has everything from underwater equipment to drones and long lenses.

She wouldn’t need to convince hair and make-up artist Joyce Connor of the benefits. Last year, Joyce hired photographers for solo bucket-list trips to Cairo and Cappadocia in Turkey, and boasted envy-inducing pictures as a result. “I’m the world’s worst selfie-taker and asking a stranger to take a picture is a gamble,” says Joyce, 59, who’s single and lives in Reading.

‘One man took photos of himself with my phone as he’d flipped the camera by mistake. In Cairo, a photographer charged me just £40 for a three-hour shoot. He doubled as a terrific tour guide.’

Joyce was so blown away that she planned her Cappadocia trip entirely around a photoshoot.

‘I wanted the shoot against the backdrop of Cappadocia’s famous hot-air balloon rides at sunrise in tribute to my sister who died last year from cancer, but loved them. I booked my flights around the photographer’s availability.

‘He even hired a fabulous, floor-length purple gown with a flowing skirt for me, which made the photos even more sensational.’

Joyce was collected at 4am for a three-hour shoot costing £160, including dress hire, three drone videos and 40 edited images.

‘The assistant held the hem of the dress up, then let go as the photographer pressed the shutter, so that it billowed out in the pictures. I show them to everyone, they’re so incredible.

‘I’m already researching photographers for a holiday in Bali and Singapore in August with my daughter and grandkids to celebrate my 60th birthday.’

Hannah McClune is another devotee of hiring vacation photographers — even though she's a professional photographer herself

Hannah McClune is another devotee of hiring vacation photographers — even though she’s a professional photographer herself

High-end stylist Oriona Robb, 46, has spent the past ten summers in various glamorous rented villas on the Algarve with her husband, Colin, 52, an investment banker, and their daughters, aged 21, 15 and ten.

Oriona, from North London, says: ‘I’ve been hiring local photographers for years to take the pressure off myself.’

‘I always style the shoots and prefer us to wear white outfits because it compliments a sun-kissed and glowing complexion. White also brings a simple, fresh and elegant aesthetic to the photos. I’ve bought a beautiful white dress for this summer, which cost £400 from Ivana Ma London.

‘There are always a few rows when it’s time for a photoshoot, though. Someone will be in a bad mood, or too hot and bothered. Whenever we gather for a shot, the temperature seems to be scorching, so we end up sweating and arguing.

‘My husband is the only relaxed one on the shoot and just goes with the flow. When we see the pictures afterwards everyone is happy. I have a wall on the landing with all the black and white framed photos, and it’s super emotional seeing how we are evolving as a family from one summer to the next.’

Oriona pays around £150 per hour for a half day’s shoot and sometimes has a photographer a couple of times during the summer. ‘I always have a few taken on my own, too, styled in the pool, or a particularly photogenic part of the villa.

‘It’s pure convenience and indulgence, but the memories are worth every single penny. It wouldn’t be a summer holiday without a vacation photographer now.’

JA Bayona’s Netflix Survival Thriller ‘Society of the Snow,’ About Andes Plane Crash Survivors, Set as Venice Film Festival Closer

Spanish director JA Bayona’s “Society of the Snow,” a reconstruction of a 1972 plane crash in the Andes that forced survivors to take extreme measures, including cannibalism, has been set as the Venice Film Festival’s closing film.

The deeply immersive Spanish-language saga is a Netflix original film shot in Andalusia’s Sierra Nevada, mainland Spain’s highest mountain range, using a 300-person crew. “Society of the Snow” will world premiere on the Lido out-of-competition on Sept. 9th. Its official screening will be held in the Palazzo del Cinema after the awards ceremony.

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In 1972 Uruguayan Air Force Flight 571, which had been chartered to bring Montevideo’s Old Christians Rugby Club team to Chile, crashed at an altitude of 11,712 feet in the Andes. Of its 45 passengers – which consisted mostly of the rugby team, friends and family – 29 survived. Without food, the survivors, who belonged to Uruguay’s elite, were forced to eat the flesh of the deceased to stay alive. 19 survived an avalanche. 72 days after the crash, 16 finally made it out alive.

Venice’s announcement on Saturday that “Society of the Snow” is Friday’s news that the Lido has been forced to pull Luca Guadagnino’s Zendaya-starrer “Challengers,” which had been set as its opening film, due to promotional complications prompted by the SAG-AFTRA strike. Italian World War II epic “Comandante” is replacing “Challengers” as Venice’s opening night film.

The “Society of the Snow” cast features up-and-coming Uruguayan and Argentine actors Enzo Vogrincic (“A Twelve-Year Night”): Matías Recalt (“Apache, la vida de Carlos Tévez”); Agustín Pardella (“Pinamar”) and Felipe González (“El Cazador”).

Directed by Bayona, “Society of the Snow” is produced by Belén Atienza, Sandra Hermida and JA Bayona. Starring Enzo Vogrincic, Matías Recalt, Agustín Pardella, Esteban Kukuriczka and Tomas Wolf. The screenplay is by Bayona, Bernat Vilaplana, Jaime Marques, and Nicolás Casariego from the novel by Pablo Vierci. The director of photography is Pedro Luque (“Don’t Breathe”).

JA Bayona made his directorial debut with “The Orphanage” (2007) which launched at Cannes and won numerous awards including seven Goyas, which are Spain’s highest film honors. In 2012 he made his first English-language foray with “The Impossible, a harrowing disaster film that grossed $198 million worldwide.

The 80th edition of the Venice Film Festival will run Aug. 30-Sept. 9. The lineup will be announced on July 25.

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Samsara – Invisible (2023) | The Other Side Reviews

Meld the power of Adele with the eclecticism of Kate Bush, the intimacy of Tori Amos, the charming flair of Stevie Nicks and a dash of Taylor Swift, what do you have? You have Samsara, of course. Hailing from the UK, singer-songwriter Samsara traipses across jazz, pop, country and rock with her evocative vocals and melodies. From fronting a teenage band at the age of 15 to singing with stars like Don Henley, Steve Winwood, and Bryan Adams, and now releasing music as a solo artist, Samsara is an exciting artist to say the least.

After leaving music behind because of a cumulative abusive marriage where her husband wouldn’t allow her to sing, Samsara steps up to prove she may have taken a step back, but music is in her soul. Reaching audiences across the globe with chart-topping songs like ‘Love For All Time’, ‘Without You’ and ‘Hard To Love’, Samsara is difficult to ignore and we’re taking a gander into her single ‘Invisible’.

Released in 2022, ‘Invisible’ followed her single ‘Anything’ and brought listeners a soft, soothing country sound. Easily placed on any stage in Nashville, ‘Invisible’ has a toe-tapping element reminiscent of acts like Reba McIntyre and Tori Amos. Yet, while there is a powerful mainstream country sound, Samsara’s obscure vocals add a unique tinge to the ballad. Rich, confident and warm, her voice pulls you tight in a big hug while the instrumentation wraps you both in a comfortable blanket. Interestingly, while the song has a simplistic acoustic soundscape, the single is kaleidoscopic with a charming harmony in the arrangement.

A natural storyteller, Samsara shares reflective songs of life, love and journeys. ‘Invisible’ uses an intimate personal narrative to resonate with people who “feel invisible”. Yet, while there is a melancholic tone, hopefulness also exists in the moving single.


In addition to the single, Samsara released a lyric music video for ‘Invisible’. You can view the video below or on her YouTube channel.



For more from Samsara, check out her Facebook, TwitterInstagram and Spotify.

This artist was discovered via Musosoup #sustainablecurator

Mikala Jones, Surfer Known for Photography Inside Waves, Is Dead

Mikala Jones, a professional surfer known for his photography and videos filmed from inside the barrels of breaking waves, died after the fin from his surfboard sliced ​​an artery in his leg while he was surfing in Indonesia, his family and a person who helped him after the accident said.

Mr. Jones’s father, John Jones, told The Associated Press on Monday that his son, 44, had been on a trip to the Mentawai Islands off the western coast of Sumatra on Sunday. The fin cut his femoral artery, which supplies blood to the lower limbs, he said.

Mr. Jones had been in the water with his nephew and other surfers as sets of waves rolled through. Then an eight-foot wave appeared, Aimar Abilleira, a resort owner who helped Mr. Jones, said in an interview on Thursday.

“He was waiting for it,” Mr. Abilleira said. “He really knew what kind of wave he wanted. He was really patient.”

“He got the wave, pulling into the barrel, the tube, and he did not make it. The waves closed out,” he said. “So we figured out, when he fell out his fin cut the main artery.”

Keala Ashton, Mr. Jones’ nephew, who was in the water with him in the isolated region, said the environment was “as tough as it gets.” “I tried my absolute best to do everything I could and I’m sorry it wasn’t enough,” he wrote on Instagram.

This week, the online surf world mourned a member of its tribe and circulated some of Mr. Jones’s most popular works, including a photograph that showed him peering through the barrel of a breaking wave as he rode it into an opening of sunlight.

Isabella Jones, one of his daughters, and professional surfers wrote messages on social media about Mr. Jones, who grew up on the east side of Oahu, Hawaii, and later lived in Indonesia with his wife, Emma Brereton, Isabella and another daughter, Violet.

As described in a profile in The Surfer’s Journal published in 2014, Mr. Jones sets out from Hawaii to Papua New Guinea, Panama, Sri Lanka and the Azores to find waves. In Sumatra, “he bagged more than one cover shot standing tall in the belly of the beast,” the article said.

“It’s like a disease,” Mr. Jones was quoted as saying. “But when you pull up at a spot you’ve been researching and the swell is there, the wind is right and you’re about to paddle out to empty perfection, that’s what it’s all about. That’s where I get my fix.”

“I love the travel. I love surfing. But right at the point where the two come together — for me that’s the best moment. That’s what I keep chasing,” he said.

Mr. Jones was among a generation of “free-surfers” who researched where the best waves were and pursued them throughout the world, Nathan Myers, the author of the article who was also Mr. Jones’s neighbor in Canggu, Bali, for a decade, said in an interview on Wednesday.

“They are chasing storms,” Mr. Myers said, “and they would take amazing photos. He became one of the very best POV guys,” he said, using the cinematic shorthand for point of view.

That quest took him to the Mentawai Islands on June 30, when he and his family settled in at Mr. Abilleira’s Awera resort, planning to stay until July 10. On Sunday, the resort was full, so Mr. Abilleira did not join Mr. Jones and others in the water, as he had on previous occasions.

“Suddenly I received a call,” he said. Mr. Jones had been injured.

“He asked for help, he was really calm and said, ‘I think I cut my artery’ to rest the people in the water,” Mr. Abilleira said. “More waves were coming. Four people in the water helped him, but he had to do another two waves by himself, so he took out the leash of the board to make sure he did not receive further impact, and he managed to go through.”

By board and boat, Mr. Jones was brought ashore, where Mr. Abilleira met them and was told how the ordeal in the water unfolded. They rode in an ambulance to a small hospital about 6 miles away. Mr. Jones was barely breathing and had lost consciousness. A tourniquet, fashioned from the surfboard leash and a piece of wood, oxygen, chest compressions and other measures failed, Mr. Abilleira said.

The medical staff concluded he had lost most of his blood in the water from the nearly 4-inch-deep cut, he said.

“We stayed one hour trying to make him alive,” Mr. Abilleira said.

Mr. Jones made some of the sport’s best point-of-view videos while riding barrels, using techniques that he had worked on for more than a decade before he started a collaboration with GoPro.

He also published footage of his work on his Instagram page. In one of his last posts, he filmed himself standing up on a surfboard as the walls of a wave folded around him. “Time to live,” he wrote. Besides his wife and children, he said, surfing was “all I need.”

Real Photo Disqualified From Photography Contest For Being AI

A real photo that was disqualified from a photo competition for being an AI image
Suzi Dougherty’s photo of her son Caspar with two mannequins that was deemed to be AI by a panel of judges.

A genuine picture taken on an iPhone was thrown out of a photography competition after the judges suspected that it was generated by artificial intelligence (AI).

Suzi Dougherty had captured a striking photo of her son with two smartly-dressed mannequins in an intriguing pose while visiting a Gucci exhibition. Happy with her creation, she entered it into a photo competition.

Dougherty didn’t think much more of it until a friend showed her an Instagram post declaring her photo ineligible because the competition’s organizers suspected it to be an AI image.

“I wouldn’t even know how to do an AI photo,” Dougherty tells The Guardians. “I’m just getting my head around ChatGPT.”

The photo competition was held by Charing Cross Photo, a store in Sydney, Australia. In their Instagram post disqualifying Dougherty’s photo, the judges said they were “first intrigued” but then “suspicion set in.”

“We want the images to come from your real-life experience, and not sourced from cyberspace,” writes Charing Cross Photo.

“There is no way we can be completely sure the image submitted was made by AI but you really can’t ignore the gut instincts of four judges.”

Charing Cross Photo owner Iain Anderson tells The Guardians that the judges looked at the metadata on the image but weren’t able to tell if the image was AI-generated or not.

“When this image came up, we all loved it, then I said ‘Hang on it looks a little AI-ish’, then we all started talking about it and went well, we can’t know for sure it is or isn’t’ t, but on the basis we’re suspicious we can’t allow it in,” says Anderson.

“It gave us an opportunity to reinforce that this is about taking the image of yourself, being present in the environment.”

An Apology, Of Sorts

Yesterday, Charing Cross Photo made an Instagram post saying they spoke to Dougherty and confirmed the photo is real.

They called the photo a “great play on what is real” and what is not. But it was too late for Dougherty to win the $333 (500 Australian dollars) prize because her photo had already been rejected from the competition.

However, Charing Cross Photo has offered to waive Dougherty’s entry fee for the next photo competition.

“I probably will [enter] — just for fun,” she added.


Image credits: All photos by Suzi Dougherty.

What’s in a Mobile Photography Studio?

Photographers and filmmakers who work on many locations have to strike a tricky balance between having all the necessary gear to complete a job and handling anything unexpected that might come up while still being able to travel without a ton of hassle. If you are wondering what it takes, check out this neat video that takes a look into a traveling photographer and filmmaker’s bag.

Coming to you from Jason Vong, this interesting video takes a look at his mobile studio setup, including cameras, gimbals, mics, lenses, drones, bags, lights, and more. Certainly, we are lucky to live in a time in which gear is smaller and more portable than ever, but on the other hand, you still have to think about what you throw in the bag, particularly if you are flying. Nonetheless, you can accomplish quite a bit with even an especially small and portable kit, and it can also be a nice creative challenge that really encourages you to focus less on the gear you are using and more on things like storytelling, your subjects, and more, which can help you to clarify and strengthen your creative voice. Check out the video above for the full rundown from Vong.

Halumin H18 Soft Light Review: Product Photography Lighting Made Easy

Halumin H18

Product photography is often considered one of the most complicated and challenging genres. Besides having the right lenses and props to decorate the shot, you’ll need a variety of light shaping options to create the best looking photos. This is where the $399 Halumin H18 Soft Light brings something interesting to the table.

Obviously to create great looking product and food images takes a lot of practice and a deep understanding of how light will behave when pointed at different reflective surfaces. To help lower the impact of that learning curve, Halumin hopes its ring light-esque modifier will make it faster and easier to create high-quality images for photographers at any level, and at an affordable price.

According to the company, the H18 modifier was designed to transform small product, food, and beverage photography (and video lighting) via an easy to control, versatile, and portable system.

At a glance the H18 doesn’t seem that special, but a close inspection changes that. Where you would normally find light pushing forwards out of the ring to light subjects in front of the modifier, the H18 instead has it’s diffusion pointed inwards in a patent pending “open cylindrical” design.

Image courtesy of Halim Photo
Image courtesy of Halim Photo

The modifier itself starts at $399 and has accessories and bundles that can bring the price up to $848 depending on how expansive you want to go. The question is, just how useful and user-friendly is it, and more importantly, is it worth the money?

Halumin H18: Design and Build Quality

The H18 modifier is pretty well built. The system itself ships in a small duffle bag and folds up much the same as a standard reflector would to save space and travel easier. It’s made with a very rugged and durable polyester ripstop laminate, nylon, and even tempered steel with tough rubber tabs on key stress points of the device to reduce wear and tear along the edges.

The thicker fabric is supposed to enhance the durability of the modifier and minimize any chance of light leakage, ensuring the only place light should come out from is the intended inner circle which is enhanced by the use of an inner lining of reflective silver.

While that is true where it counts, my unit did exhibit a little bit of leakage along the inner seam where the diffusion panel is connected. It is quite minimal and you can only see it if you are actually looking for it. In real-world usage this is completely unnoticeable to the eye and had basically zero effect on the actual images captured, but I’d be remiss if I didn’t mention it.

When opened and assembled, the H18 modifier has an interior “Staging Area” of 18 inches and measures 36x 36 x 8 inches in total, basically allowing for a shoot space of about four by four feet if you’re in a pinch for space. When collapsed and in it’s travel bag, the H18 measures just about 15 x 15 x 8 inches (if you don’t make use of the speed-light pouches) making it very easy to store and travel with when compared to many other light modifiers . The bag includes two pouches to carry speed-lights (or other small sized accessories) that can fit most speed-lights on the market, including the larger Profoto A, Westcott FJ80, and Godox “round” style heads.

The outer ring of the modifier has several fixed points that help the system maintain its shape. These “ribs” are secured using velcro and positioned alone the heavy rubber points along the outer edge of the ring. Then there are the two slots on opposing sides (we’ll say they are at the three o’clock and six o’clock positions for the purposes of this review) where you can mount the lighting system of choice using the included speed-light adapters, or optional studio light mounts. These ship by default with a Bowens mount, but additional adapters can be purchased to connect to nearly any other lighting system including Profoto which I used for this review.

The speedlight setup uses a system of snap-ties and velcro with a “rib” to connect to either side of the modifier, whereas the studio light uses larger metal and plastic clamp-based designed that connect over the thick rubber outer lining of the modifier . Even though its quite a simple setup, it can feel pretty confusing at first, so I’d recommend taking the time to watch a setup guide just so you don’t waste time.

Inside of the ring where the diffusion is, you may notice two thick rings of a heavy-duty velcro like material. These are built to act as a sort of “barn-door” to give you more control over how much light you want to spread on your subjects. This includes the use of some included “blackout materials” which we’ll dive into in the section below on using the modifier.

Finally, the Halumin H18 modifier has an optional $269 accessory leg which locks onto the support ribs of the modifier and can articulate in nearly any direction to help support the H18 and its attached lights in a variety of positions. You can use these to help balance the modifier when being used at an angle or even as a “stand” to hold the modifier upright.

The collapsable leg(s) can extend out to 30 inches (13 inches collapsed) giving users a flexible range of lengths and angles to position them. At first they felt rather clunky, but after a bit of practice it started to feel second in nature for helping balance tricky angles and setups.

Halumin H18: How Do You Use It?

If you don’t read the instructions (or watch the handy series of YouTube videos) the first setup can be a little confusing, but even then it didn’t take me long to figure out.

Once you figure out the intricacies of the H18, setting it up using either speed-lights, LED’s, or strobes shouldn’t take you any more than a few minutes. Depending on the complexity of your lights attached and if you need stand support, it might take you a bit longer to reposition the lights the way you want than to set it up or tear it down.

When you first take the modifier out, you need to connect a few rigid “ribs” along the outer lining to keep the system expanded for use. These are positioned along the four corners of the modifier with openings at the three o’clock and six o’clock positions to mount the light of choice for your shoot. If you use the speed-light option, the H18 has a built-in reflective cover to fold over the speed-light to ensure there’s no light leaked when in use.

If you use the strobe/LED mount option, the base of the mount covers the entire opening, ensuring the light goes exactly where it’s needed and nothing is spilled out of the sides.

As I mentioned, the inner ring of the H18 has a set of 360-degree velcro “barn doors” that when turned inward keep the light contained in a really narrow area with a hard drop off. The idea here is that you can isolate the light in a tight space and only light your subject and not spill out onto the background. If you flip one of the rings outwards, it lets light come out at a wider angle. This lets you get a little more light on the product and/or the background.

Additionally, you can also flip part of the ring on both sides open to allow the light to be stronger on one side of the ring so you can manipulate the light by having to change the settings of each flash as often.

Since they are Velcro you can control the light even more by taking the included blackout strips and using them totally block the light from select areas. According to the company, “This is for situations like, if you have a reflection on part of your subject that you want to eliminate or some of your subject is too close to the edge of the ring and you want to block that light so it’s not hot in that spot.”

The design itself is meant to be able to reduce the number of lights and modifiers needed to achieve a soft all-encompassing light setup which would typically need four or more lights to achieve a similar look, so while it still feels a bit big, it really does cut down on the space and quantity of lights needed to get a very smooth looking product shot. This was especially useful for me, being rather new to that side of the world of photography.

Halumin H18: Performance and Results

I tested the Halumin H18 in a few different setups from the small dining area of ​​my home to some lay-flat and table setups in the studio to see just how good it was, and maybe it was the beginner product photographer in me speaking, but I was pretty impressed with it. Yes it’s kind of weird to look at, but it actually works really well, especially if you want to create that dramatic product shot.

For the first few tests, I used a C-stand arm with a Manfrotto/Lastolite micro-arm and mini-clamp combination to hold a bunch of different items and almost straight out of the camera they were ready to release.

To clean things up a little better and reduce my editing time, I simply draped a black t-shirt over the reflective c-stand arm and was left with just photoshopping out the actual “clamp” for the final shot. Other than adjusting my exposure, it was pretty easy to get a great shot right out of the camera. Granted, the images could have been made much more attractive had I added additional lights or colored gels for the background but I wanted to focus on using the Halumin H18 on its own to show what it is actually capable of.

Halumin H18: Awkward At First, But Incredibly Useful

In each of the vertical floating setup, lay-flat, and the corner/table setup, the $399 Halumin H18 Light Modifier was the only light used, and each shot was used with the modifier positioned at a few different angles with the inner “ barn doors” held in a variety of positions to make subtle changes to the lighting. But in each and every case, it was clear that the H18 Softlight handled the reflections on shiny objects exceptionally well, making it an ideal tool for those who are serious about food, beverage and product photography.

Being new to that world myself, It was kind of exciting to be able to capture images this way with such ease, especially since the modifier on its own seemed to make the product shot with it just pop out of the background. It was pretty quickly clear that spending more time finding the right angles or adding additional accent lights could make the product shot with this modifier absolutely jump off the screen. The only downside would be if you had to photograph larger products, then this modifier would be effectively useless for you.

For many new to the product world, the cost of entry may be a bit of a deterrent given that the modifier starts at $399 for the base system and goes up to as much as $848 for a bundle with the accessory legs and adapter mounts for studio lighting (more if you need to buy adapters for a light other than Bowens)

But, given that good product photography lighting, sets, accessories and props are expensive, adding a high qualify modifier like the H18 just makes sense as it can significantly cut down the amount of gear and lighting required to get “the shot” as well as save you a ton of time both on set and in post production.

Are There Alternatives?

One alternative that is kind of close in the end result would be a much more affordable $139 V-Flat World Light Cone bundle by Karl Taylor which would require additional setups but can deliver somewhat similar ending images.

Outside of that though, there really isn’t any other close alternative which makes the Halumin H18 modifier unique. Yes, there are tons of other ring-lights out there, but they are all front-facing designs, not “inwards” as the H18 acts. Meaning, you can get other similar shaped light modifiers, but they would require a significant amount of additional customization to even begin to get close to replicating the setup, which would defeat the entire purpose, and likely make the cost and or space required to use much more significant.

Should You Buy It?

Yes, if you’re serious about food, beverage, and product photography.

Through Faisa’s lens: Why this photographer takes photos of Black youth across the city

CBC Ottawa’s Creator Network is a place where young digital storytellers from diverse backgrounds can produce original video content to air on CBC and tell stories through their own lens.

Get in touch to pitch your idea, or check out our other Creator Network stories at cbc.ca/creatornetworkott.


When Faisa Omer switches on the bright lights and turns her camera on her subject, she knows the power of her lens to highlight the good, the bad and the stories of those who step into her spotlight.

The 31-year-old photographer and mental health counselor says she was blown away by the response to her first major photography project, which shed light on the racism her brother and his friends had experienced growing up Black in Ottawa community housing.

That led to gallery exposure and Omer’s photos being put on display in the mayor’s office, as well as his decision to expand the project across other communities across Ottawa, which he and videographer Hersi Osman documented for CBC Ottawa’s Creator Network.

Only this time, Omer decided to focus not only on the challenges and difficulties faced by Black youth, but also what makes them proud.

“Sometimes the trauma we go through kind of becomes who we are.… That’s what [people] see, what they remember,” explained Omer.

Telling that complicated story through images has become the photographer’s goal.

“We’re more than just these negative experiences that happened to us. We also have joy, we’re complex, just like other people, right? I wanted to showcase that and their hopes and dreams instead of just the negative side of the spectrum.”

Snippets of comments appear on a background of photos.
Omer says she was overwhelmed by the feedback she received after posting photos of Black youth in her neighborhood and their stories of racism on her Instagram feed. (CBC)

Rooted in Ritchie

Omer’s first project started in the summer of 2020, when he asked his brother Abdullah, then 17, and his friends to pose in his family’s Ritchie Street basement.

She posted the photos to Instagram alongside the first-person stories they’d shared of their experiences being Black and growing up in a neighborhood that’s often in the headlines for the wrong reasons. It touched a nerve.

Three portraits of Black youth.
After Omer’s images of Black youth made their way to various local spaces including Lowertown OBAK, cafés, the Ottawa Art Gallery and the mayor’s office, Omer decided to expand his project to highlight youth in three community housing neighborhoods across the city. (Faisa Omer/CBC)

“One of the main sentiments that I felt from the community was how these stories were important. These photos had the power to change minds and attitudes towards Black people,” she said, adding she couldn’t keep up with the outpouring of messages from support.

For her, it seemed natural to keep going.

After garnering a grant from the Canada Council for the Arts, she decided to take the idea to three more neighborhoods — Lowertown, Michele Heights and Overbrook, basing her operations in each area’s community house, hoping that would help young people feel comfortable and safe to share.

On camera, participants opened up on everything from what it’s like to have your photo taken, to how to respond when you’re repeatedly asked, “Where are you from?”

Shaunette Simon opted to share a message for the next generation.

“My hope is that my grandkids will be able to come into this world and be able to be kids … and not fear that they’re going to be judged and things are going to be denied to them because of the color of their skin , something that they can’t change.”

Omer says she was surprised and saddened by the difficult stories she heard, including one woman’s experience of suffering a brutal beating at 16 during her first year in Canada, which resulted in her losing a year of school, and what it felt like to learn later on that the case had been dropped.

Osman also said he was surprised by the depth of pain their subjects shared.

“They were telling personal stories about their first encounter with the police,” he said. “They got pretty deep in terms of their responses to what it means to be Black.”

He said he expected the 12-year-olds to care more about what they had for lunch or the activities at the Boys and Girls Club, but they all had their own experiences to add.

“They’re not as sheltered as we thought they were,” Osman said.

Portraits of a man and a woman.
Omer, left, asked family friend and videographer Hersi Osman to help document her photography project. The pair know each other because their dads were roommates in the 1980s when they both moved to Ottawa before the rest of the family immigrated. (Submitted by Faisa Omer and Hersi Osman)

Timings in Lowertown

There were particularly difficult moments in Lowertown, where the scheduled photography session happened shortly after a shooting in front of the community house where an 18-year-old was killed.

Omer says it became an opportunity for people in that neighborhood to talk and share what feels like.

“I was thinking, this is when the community wants their voice to be heard,” she said. “Let me see what this neighborhood wants the rest of Ottawa to know about them right now.”

As a psychotherapist, Omer says the sessions were not just about the photos, but also helping the youth process a traumatic event and validating their feelings about it.

“You have to stop and give them that respect .. that eye contact while they’re speaking, ‘I can’t believe that happened, I’m sorry,'” she explained, adding that hearing those stories was hard on her, too, but talking it over with her siblings always helps.

A woman in front of a shaky camera.
Omer picked up a camera as a teenager living in Ottawa community housing. (Faisa Omer)

Still, Omer says he came away from the project seeing the pride the youth had in their neighbors and communities — a sentiment echoed by Osman.

“There’s a lot of bad press when it comes to certain neighborhoods in the city and people don’t see the positive side of it,” he said. “This was something that was going to shed light on neighborhoods that don’t really get the limelight they deserve.”

New home, new job

Since wrapping up this project, Omer has started a new chapter of her life. In January, she began a new job as a counselor at Carleton University.

Her family also moved to a newly built home in Findlay Creek this May, with enough room for their parents and all seven siblings, six of whom are over 20 — a bittersweet change for Omer.

“I feel like if you live somewhere for more than two decades, it definitely becomes part of your identity,” she said.

“I’m proud to be from Ritchie, and all the other neighborhoods that I grew up in, because it made me who I am today.”

All in a Day11:55Through Faisa’s lens

Why photographer Faisa Omer, who grew up in community housing, is taking pictures and amplifying the voices of Black youth in community housing across Ottawa.

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What Kind of Photographer Should You Be?

When you become a professional photographer, you can take one of two general paths: a specialist with a focused approach to a single genre and/or style, or a jack of all trades who can competently tackle a wide variety of jobs, if not quite at the level of a specialist in each area. So, which is right for you? This helpful video essay features an experienced commercial photographer discussing the pros and cons of both approaches to help you decide.

Coming to you from Scott Choucino with Tin House Studio, this great video essay discusses the pros and cons of being a specialist or generalist as a professional photographer. Of course, the appeal of being a generalist is that you will at least be considered for many more jobs, and if you are someone who gets bored easily, you get the benefit of switching up your work quite a bit. On the other hand, a specialist, by virtue of their approach, is more likely to distinguish themselves from their peers simply because their singular focus allows them to really hone and push their craft to a very high level. Furthermore, some creatives enjoy that pursuit of narrow perfection more than being very good at a lot of things. Check out the video above for the full rundown from Choucino.

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