BenQ Screenbar Halo 2 - The PERFECT Lamp for your Workspace

If you’re anything like me, you’re probably pretty particular about your workspace. Between two monitors, a keyboard, a mouse, and all the usual accessories, desk space disappears almost immediately.

Because of that, having a traditional desktop lamp has always been completely out of the question.

There’s simply nowhere to put one.

So when I was asked to have a look at the BenQ ScreenBar Halo 2, I’ll be honest, I was massively sceptical.

I half expected to dislike it entirely.

My main concern was screen calibration, which is something I’m constantly talking to people about, making sure your screen is set to the right brightness and that your colours are spot on.

Surely, sticking a light bar right on top of the screen is going to throw light directly onto the panel, wash out the colours, create loads of glare, and completely undo all that careful calibration? It just didn’t seem like a good idea.

But … I was / I am, genuinely and unexpectedly surprised.

It turns out the way this thing is designed is actually really clever; the light it produces doesn’t touch the screen at all, it projects forward, illuminating the desk area right in front of the monitor without a hint of screen reflection or glare.

It’s like having a proper desktop lamp built directly into your monitor, completely out of the way, without actually affecting your calibrated display.

Genuinely, the biggest change has been how much more comfortable my eyes feel. Normally, I’d have to keep the ceiling lights on in my office just to take the edge off, but there are times I’d rather not have the whole room lit up … first thing in the morning and late in the evening.

The ScreenBar Halo 2 has a backlight built into the rear, which throws a soft glow onto the wall and the area behind the screen, balancing out the contrast so you’re not just staring at a bright rectangle in an otherwise pitch-black room.

Because of that backlighting, I can now comfortably work in a dimly lit office with just the screen bar on. My eyes feel relaxed, and I never get that sensation of straining or tiredness creeping in.

As a real bonus, it means I can leave my office door open when I’m working very early in the morning or late at night, without worrying about bright ceiling lights spilling out into the hallway and waking everyone else up i.e. Anne and our cat, Mabel; the light stays very contained to your immediate space.

[IMAGE SUGGESTION 2: A shot from behind or the side of the monitor, highlighting the rear backlight casting a soft, balanced glow onto the wall behind the screen.]

At the moment, I’ve got it sitting on the monitor I do most of my retouching on. I’ve settled on a fairly simple setup, with the colour temperature dialled in at around 6,000 Kelvin, which matches the daylight temperature I use for my screen and the ceiling lights I used to rely on.

What’s great is that there’s no fiddly attachment or screws involved. It balances on top of the screen using a counterweight and takes about five seconds to position. If I ever want to move it across to my second monitor, I can do it instantly.

It also has a really neat ultrasonic motion sensor, so it knows when you’re sitting in front of it and when you’ve left the room. You can set it to switch off after a short while when you walk away, then the moment you come back, it detects you and pops back on.

It’s one of those features that sounds like a minor detail but ends up being really satisfying to use.

Technical Details and Features

For those who like to dig into the specifics, here’s a full breakdown of what the BenQ ScreenBar Halo 2 offers:

• Asymmetrical Optical Technology: Designed with an 18° cut-off angle, an 8-section reflector, and 12 precision lenses. This ensures the desk area gets a consistent 500 lux of light (covering a wide 85cm x 50cm area) while maintaining zero glare on the screen.

• Tri-Zone Backlight: The rear ambient light features an upgraded tri-zone design, offering 423% wider coverage than the previous generation to perfectly balance wall contrast and ease eye fatigue.

• Colour Temperature Control: Both the front and rear lights are fully tuneable from a warm 2700K up to a crisp 6500K, adjustable in precise 25K increments.

• Colour Accuracy (CRI): Uses full-spectrum LED chips with a Colour Rendering Index of Ra≥95 and a Colour Fidelity Index of Rf≥96 for the front light, ensuring colours in your space look highly accurate.

• Smart Automation and Motion Sensors: Equipped with real-time auto-dimming that senses ambient conditions and supplements the room to the recommended 500 lux standard. The built-in ultrasonic motion sensors handle presence detection to turn the light on and off automatically.

• Wireless Controller: A digital touch puck that lets you control power, brightness, colour temperature, and light zones independently or together. It includes a “Favourite Mode” memory button and runs on a rechargeable lithium battery via a Type-C cable, lasting around three months per charge.

• Universal Zinc-Alloy Clamp: Designed to rest on top of the screen using a gravity counterweight rather than a clipping mechanism. Works with ultra-narrow bezels, avoids blocking webcam lenses, and fits flat or curved monitors (1000R to 1800R) with thicknesses ranging from 0.43 to 6 cm.

• Power Input: Powered via a non-removable 150cm USB-C cable (5V, max 3A, max 15W).

• Safety Certifications: Certified flicker-free (IEEE PAR 1789 standard) and carries dual EU certification for zero blue light hazard (IEC/TR 62778, IEC/EN 62471).

I didn’t even know I needed it

If you’ve ever thought about adding a desk lamp to your setup but ruled it out because you just don’t have the room, or you’ve tried regular lamps and found the harsh contrast leaves your eyes feeling tired, I’d genuinely recommend giving this one a look.

I didn’t know I needed it, but I’m really happy to have it as part of my set up, meaning I can leave my office lights off and still having exactly the right environment for editing.

Brilliant!

Doing This ONE THING Transformed My Photography

If someone walked up to you right now and asked what kind of photographer you are, what would you say? Would you have a clear, confident answer, or would you hesitate and mumble something like, "Oh, I do a bit of everything"?

There's nothing wrong with being versatile. But I genuinely believe there's one thing that can transform you as a photographer, and that's starting a personal project.

I don't mean a client job. I certainly don't mean something you do just to get likes or feed an algorithm. I mean a project that's entirely yours. Something that means something to you. Something that comes from genuine curiosity.

Finding your identity and focus

A personal project gives you an identity. It tells the world, and more importantly it tells you, what you stand for and what you actually care about. It's the difference between someone who takes photos and someone who's using a camera to say something.

It also brings real practical benefits.

You get focus. When you have a clear purpose, every shoot has direction. You're no longer wandering around hoping for a great shot. You know exactly what you're looking for and why.

You develop naturally. Because you return to the same subject or theme again and again, you get better almost without trying. You start to see things differently, you experiment more, and your technical skills sharpen alongside your creative eye. It's the difference between going to the gym now and then and actually following a proper training programme.

And it keeps you going. There will be times when your photography feels flat, or when paid work starts to feel routine. A personal project gives you somewhere to go. It keeps you creatively alive and keeps that spark of motivation lit.

The power of a genuine purpose

Let me give you an example of a project that became one of the most meaningful things I've ever done. It went far beyond anything I imagined.

It was called the 39-45 Portraits Project. Entirely self-funded and self-initiated, the goal was to travel the length and breadth of the UK to find, photograph, and honour surviving Second World War veterans. I wanted to give them and their families a timeless portrait, completely free of charge, as my way of saying thank you.

What happened next wasn't planned. The project went on to receive national press coverage, and a selection of the portraits was displayed by the BBC during the televised King's VE Day Concert in 2025.

None of that recognition was the goal. The goal was always the veterans. People can sense when something is genuine, and that's exactly why the project resonated the way it did.

The moment a personal project becomes about you rather than the subject, it stops being a personal project. It just becomes self-promotion in disguise. A true personal project has to come from a place of authenticity, not from a marketing plan wrapped in hashtags.

Closer to home: the I am Lyme project

Your project doesn't have to be a grand, sweeping national concept to matter. It can come straight from the place you call home.

Right now I'm working on a new project called I am Lyme. The idea is simple. I'm photographing the people who make up the fabric of Lyme Regis. The fishermen, the boat makers, the cafe owners, the bar staff, the swimming groups, and the characters you see walking around town who make the place what it is.

I'd already spent time capturing the location itself, the seascapes and the harbour, and now the people side is building its own momentum, with one person recommending the next as word spreads. The plan is to bring it all together for an exhibition in the summer of 2027 at the Jubilee Pavilion in Lyme Regis.

If you're taking on a project that involves photographing people in your community, I'd recommend putting together a simple presentation folder. Mine contains the project logo, a short written outline of what the project is and why I'm doing it, an explanation of what the images will be used for, and a small selection of sample portraits.

When you ask people to be part of something, they need to trust you first. A simple folder does a huge amount of work before you've even started talking, because it shows you're serious, considered, and that their contribution genuinely matters.

How to choose your project

If you're wondering where to start, look at your own life. What are you already passionate about outside of photography?

If you love sport, look at your local grassroots football club, an athletics team, or a boxing gym. The effort and passion behind the scenes there is a compelling body of work waiting to be captured. If you live somewhere with a unique history, a particular landscape, or a community that doesn't often get noticed, start there. The best projects grow out of things you already care about, because that care shows in the work every single time.

Personal projects might never leave your hard drive. They might not make you famous. That's completely fine. What they will do is keep you sharp, keep you motivated, and remind you exactly why you picked up a camera in the first place.

So stop putting it off and just start. You genuinely don't know where it might take you.

I'm Touring with WeX for their Summer Roadshow 2026

This summer I'm hitting the road with Wex Photo Video as part of their Summer Roadshow 2026, a series of in-store talks, live demos and hands-on photography experiences across Wex stores. I'd love to see you at one of the dates.

I'm presenting at eleven locations across the UK between July and September. In Edinburgh I'm opening with a talk, and at every other stop I'm on the shopfloor throughout the day with my live demo, "No Studio, No Problem: Classic Portraits with Minimal Kit."

Where I'll be

Here are all the dates I'm presenting at:

• Edinburgh, the 3rd of July ( LINK )

• Leeds, the 17th of July ( LINK )

• Newcastle, the 18th of July ( LINK )

• Bristol, the 23rd of July ( LINK )

• Birmingham, the 24th and 25th of July ( LINK )

• Manchester, the 30th of July ( LINK )

• Milton Keynes, the 14th of August ( LINK )

• Nottingham, the 15th of August ( LINK )

• Norwich, the 21st of August ( LINK )

• Belfast, the 3rd of September ( LINK )

• Glasgow, the 11th and 12th of September ( Link Coming Soon )

What to expect on the day

Each roadshow day brings together leading camera brands and accessory manufacturers, so you can explore the latest cameras, lenses, accessories and imaging technology all in one place. You'll be able to meet brand experts, get personalised buying advice, ask technical questions and pick up practical shooting tips to help you get more from your kit. There are live demonstrations on the shopfloor throughout, showcasing key gear in action.

Alongside the hands-on side, there's a programme of guest speaker seminars and brand talks from professional photographers, filmmakers and industry specialists, all designed to inspire, educate and help you take your photography or filmmaking further.

My session: No Studio, No Problem

You'll find me on the shopfloor throughout the day for "No Studio, No Problem: Classic Portraits with Minimal Kit." You don't need a studio, expensive lighting or a van full of gear to create classic, timeless portraits. You just need to know what you're doing with what you've got.

This is a practical session with no shortcuts and no assumptions about your budget or your space. I'll show you exactly how I build my signature classic portraits using minimal kit in a limited area, from choosing the right equipment and setting up the light, right through to working with a subject in front of the camera.

I'll cover the kit itself and why less is often more, how to set up and use light for a clean, timeless look, and the skill that gets overlooked far too often: relaxing your subject in front of the camera. Because the best lighting setup in the world won't save a portrait if the person in it looks uncomfortable. These are informal, ad-hoc sessions running between the seminar programmes, so come and find me, ask questions, and you might even walk away with a free portrait.

Booking and good to know

Entry to the in-store day is free. One thing worth knowing: general admission gets you into the store day, but to attend the ticketed guest speaker talks you need to book separately through the links on each event page. My shopfloor sessions are part of the free in-store day, so no separate ticket needed to catch those.

You'll find full details of the wider Summer Roadshow programme, including venues and what's on at each store, on the Wex Photo Video website at wexphotovideo.com/roadshow.

I'm genuinely looking forward to this one. Eleven dates, a lot of miles, and a lot of portraits.

Please do, come and say hello.

Flash Photography: Front Curtain Sync and Rear Curtain Sync Explained

When you shoot with flash at a slower shutter speed, the camera is really recording two things at once.

The first is ambient light, which is controlled mainly by your shutter speed. The second is the flash, which freezes or highlights your subject.

Curtain sync simply decides when the flash fires during that exposure. It is one of those settings most people never touch, but once you understand it, you have a lot more creative control.

What is front curtain sync?

Front curtain sync means the flash fires at the start of the exposure.

So the order is this. The flash fires, the shutter stays open, and any ambient blur records afterwards. This is the default setting on most cameras.

What does front curtain sync look like?

If your subject is moving, the flash freezes them at the very start, then any motion blur appears in front of them, ahead of the movement.

This can sometimes look a little odd, because the blur seems to be heading the wrong way.

Picture someone walking across the frame. The flash freezes them first, then their movement creates blur after that frozen moment. The result can make the blur look like it is leading the subject rather than trailing behind. Basically, the blur looks like it got up early and left before the subject did.

What is rear curtain sync?

Rear curtain sync means the flash fires at the end of the exposure.

So the order flips. The shutter opens, the ambient blur records, then the flash fires right at the end. This means the motion blur appears behind the subject, which usually feels far more natural.

What does rear curtain sync look like?

If someone is moving through the frame, the camera records the motion blur first, then the flash freezes them at the end of the movement.

This gives the sense that the subject is moving forward with the blur trailing behind. That is why rear curtain sync is so often used for more creative flash work.

The simplest way to remember it

Front curtain sync freezes the subject first. Rear curtain sync freezes the subject last. That is the whole difference in two sentences.

Why use front curtain sync?

Front curtain sync is useful when you want the flash to fire immediately and you are not too worried about the direction of motion blur.

It works well for:

• general flash photography

• portraits with little or no movement

• event photography

• situations where you just need reliable flash timing

• faster shutter speeds where blur is not visible anyway

Most of the time, front curtain sync is perfectly fine.

Why use rear curtain sync?

Rear curtain sync comes into its own when you want movement to feel natural or creative.

It works well for:

• dancers

• musicians

• runners

• cyclists

• cars

• wedding dance floors

• people walking through a scene

• creative portraits with intentional blur

• street photography at night

• light trails

It gives the image more energy, because it shows the movement before freezing the final position.

Creative uses

Movement portraits

Use a slower shutter speed, ask your subject to move slightly, then let the flash freeze them at the end. This is great for musicians, athletes, dancers, and fashion or editorial portraits. You end up with a sharp subject surrounded by movement and atmosphere.

Dance floor shots

Use rear curtain sync with a slow shutter speed and a little camera movement. The ambient lights create streaks and colour, then the flash freezes the people at the end. Very useful for weddings and events.

Light trails

Photograph a cyclist, a runner, a car, or someone holding a light source. Rear curtain sync keeps the trail behind the subject rather than awkwardly in front.

Dragging the shutter

This is when you deliberately use a slower shutter speed to bring in more ambient light. Instead of shooting flash at 1/200 sec and letting the background go dark, you might shoot at 1/15 sec or 1/30 sec to let the room, the street lights, or the sunset show through. The flash freezes the subject while the slower shutter records the atmosphere.

Camera movement

You can twist, pan, zoom, or gently move the camera during the exposure. With rear curtain sync, the flash fires at the end, giving you a sharp subject after the creative blur. Done well, it looks dynamic. Done badly, it looks like the camera sneezed. Both are educational.

How to use it

Set your camera or flash system to rear curtain sync, sometimes labelled second curtain sync.

Then choose a slower shutter speed, such as:

• 1/30 sec

• 1/15 sec

• 1/8 sec

• 1 second or longer for more extreme effects

The slower the shutter speed, the more blur and ambient light you record. Keep your flash power controlled so the subject is still lit properly.

Things to watch out for

It needs movement. If nothing is moving, front and rear curtain sync will look almost identical.

Shutter speed matters. At faster shutter speeds you probably will not see much difference. The effect becomes obvious only when you slow things down.

Ambient light matters. No ambient light means no visible blur or trails. You need some available light in the scene for the movement to record.

Flash freezes, shutter blurs. The flash gives you the sharp subject. The shutter speed controls how much movement or background light appears.

Rear curtain sync can feel less predictable. Because the flash fires at the end of the exposure, the timing feels a little strange at first. For moving subjects, you may need a few attempts to land the perfect position.

Best starting settings

For a simple test, try this:

Mode: Manual Shutter speed: 1/15 sec Aperture: f/4 ISO: 400 Flash: TTL or low manual power Sync: Rear curtain sync Subject: Ask someone to walk across the frame or move their arms

Take one photo with front curtain sync, then one with rear curtain sync. The difference will be obvious.

Front vs rear curtain sync at a glance

Feature Front curtain sync Rear curtain sync Flash fires At the start At the end Motion blur appears Often in front of subject Usually behind subject Best for General flash use Creative movement Looks More standard More dynamic Useful with slow shutter speeds Yes, but can look odd Yes, often more natural Default on most cameras Yes No

The key teaching phrase

Front curtain sync freezes where the subject was. Rear curtain sync freezes where the subject ends up.

Or even simpler. Front curtain sync starts the story with flash. Rear curtain sync ends the story with flash.

TO summarISE

Rear curtain sync is usually the better choice when you want movement, blur, trails, and energy to look natural in a flash photograph.

Photographing a Lyme Regis Legend - Harry May

Tuesday morning I was out early to meet up with someone that can only be described as a Legend when it comes to Lyme Regis ... Harry May.

Just as with the Scallop Divers, for one reason or another, including Harry having knee replacement surgery, it had taken almost 2 years to get him in front of my camera, but it was so worth the wait.

What a super nice guy!

Honestly ... despite it being the first time we'd met and spoken in person, it felt like I'd known him for years. In fact, when Harry arrived, it was easily a good 20 minutes if not more that we chatted, before I started taking photographs. Sorry for keeping you waiting, Steve 😃

Keeping It Simple, Keeping It Classic

The brief for this one, set by me, for me, was simple: keep it classic.

It was a glorious sunny morning with just enough cloud cover to give beautifully soft natural light. To match that softness, I used my 4x3ft Westcott Softbox, positioned about one and a half arm's lengths from Harry.

I shot at f/4.0 to soften the background slightly. Rather than using High Speed Sync (HSS) to let me shoot at a wide aperture in bright light, I opted for a 4-stop Neutral Density filter instead. The light was consistent and I'd had everything dialled in well before Harry arrived, so there was no rush and no need for the extra flexibility HSS gives you; it's simply a different way of solving the same problem: too much ambient light for the aperture you want.

• Did you see my High Speed Sync versus Neutral Density Filters Infographic ? ( LINK )

My Westcott FJ800 strobe handled it perfectly, run in TTL with +1 stop of compensation added.

Natural Direction

If you've ever been to Lyme Regis, there's a good chance you've spotted Harry leaning on the railing further down by his Fishing Trips board. So, having him lean the same way where we were shooting felt completely natural to him. Direction was barely needed, just "lean yourself on there and get comfy."

That's really the whole trick with portraits like this: find the pose someone already does in real life, and let them do it.

The Stunt Double

Before Harry arrived, my mate Steve Healy stepped in as stunt double, so I could get the lighting and exposure dialled in properly. That meant when Harry turned up, we were ready to go straight away rather than running test shots on the actual subject.

Three Shoots, Five Days

I'm on a high right now. This was my third shoot for my "I am Lyme" project in the last five days, and the best part is word is starting to spread. More people are hearing about the project and wanting to be part of it.

About "I am Lyme"

"I am Lyme" is a community-focused portrait series centred on the coastal town of Lyme Regis. The idea is simple: capture and celebrate the local faces that give the town its character, from fishermen and restaurateurs to B&B hosts, cafe owners and more…

I've Joined the Fotospeed Ambassador Team

Now, I'm one of those people who's very selective.

You won't find me jumping on every bandwagon going, putting my name to whatever company offers to line my pockets with silver.

I think long term, and I want to work with companies that think the same way.

That’s why for a number of years now I’ve only wanted to work with Westcott and BenQ.

With Westcott, I've built a fantastic relationship over the years. Not only do they produce world-leading products, but they're great people too, with world-leading customer service to match.

The same goes for BenQ ; fantastic displays, wonderful people behind the scenes and a brand I trust completely.

Fotospeed are the same calibre. Great products, but also a great bunch of people. They're forward-thinking and dynamic in what they do, they put a lot into education, and they genuinely care .

They're proactive, always pushing into new markets around the world. It's exactly the kind of company I want my name next to, and this is why I’m incredibly happy and proud to announce that I'm now a brand ambassador for Fotospeed.

Why print matters to me

Photography has never just been about the moment you press the shutter. A photograph comes to life when it becomes something tangible, something you can hold, frame and experience properly.

A great print transforms an image. It gives it presence, texture and permanence in a way a screen can't replicate.

That belief sits at the heart of my creative process, and it's exactly what Fotospeed stand for.

What's next

As part of my role with Fotospeed, I'll be sharing my creative process, my approach to printing, and the products I trust to get the best from my images. I'm also looking forward to presenting for them at FotoFest on the 6th September 2026 in Bath, UK ( LINK )

So, watch this space, there's plenty more to come 😃

Explained: HSS (High Speed Sync) versus ND when using Flash

High-Speed Sync, or HSS, is a flash mode that lets you use flash at shutter speeds faster than your camera's normal flash sync speed.

For most cameras, normal flash sync speed sits around:

1/160 sec, 1/200 sec or 1/250 sec

Go faster than that and HSS becomes essential.

What High-Speed Sync Actually Does

Normally, when you take a flash photo, the flash fires one quick burst of light while the shutter is fully open. At normal sync speeds, that works perfectly.

But push past your camera's sync speed and the shutter is no longer fully open at any single moment. Instead, a narrow slit travels across the sensor. If the flash fired just one burst at that point, only part of the frame would be lit, leaving you with a dark band across the image.

HSS solves this by making the flash pulse rapidly for the entire time that slit is travelling across the sensor. So instead of one big pop, you get lots of tiny rapid pulses instead.

Why I Use It

The main reason is simple: it lets you shoot with wider apertures in bright light.

Say you're outside on a sunny day and you want to shoot a portrait at f/2.8, f/2, or even f/1.4. That gives you shallow depth of field, a blurred background, nice separation, and that more polished portrait look.

The problem is, in bright daylight, a wide aperture often forces your shutter speed up to something like 1/1000 sec, 1/2000 sec, or even 1/4000 sec. Without HSS, your flash simply won't sync properly at those speeds. With it switched on, you can keep that wide-aperture look and still use off-camera flash.

What It's Really For

Here's where a lot of photographers get it wrong: HSS isn't really there to freeze action. That's a common misunderstanding.

Its real purpose is to give you control over ambient light while still using flash. It frees up your shutter speed, which means you can darken the background, hold onto detail in a bright sky, shoot wide open, and still light your subject properly with flash.

Put simply: HSS lets you make daylight behave itself.

How I Use It in Practice

A typical off-camera flash setup with HSS goes something like this.

1. Set your exposure for the background first

Start without flash. Choose your aperture, for example f/2.8, and set your ISO low, around ISO 100. Then adjust your shutter speed until the background looks the way you want it. In bright daylight, that might mean 1/1000 sec or faster.

At this point your subject is probably too dark. That's where the flash comes in.

2. Turn on HSS

You'll usually need to enable HSS on the flash trigger, the flash head, the camera's flash menu, or sometimes all three, depending on the system. With Westcott, Godox, Profoto, Canon, Nikon, Sony and so on, the exact menu or button differs, but the principle is the same. Look out for HSS, High-Speed Sync, FP Sync, or a lightning bolt with an H next to it.

3. Add flash to light your subject

Position your off-camera light where you want it. For portraits, I'll usually go for around 45 degrees to the subject, slightly above eye level, using a softbox, beauty dish or umbrella, and close enough to keep the light soft and powerful. Then adjust your flash power until your subject looks right.

4. Balance flash and ambient

Think of it this way: shutter speed controls the ambient light, flash power controls the light on your subject. In HSS, that's mostly true, but there's one important catch. Because HSS reduces flash power, very fast shutter speeds will also make your flash work a lot harder.

A Simple Example

You're photographing someone outdoors at golden hour, or in bright sun. You want a blurred background, a dramatic sky, and your subject nicely lit.

Settings might look like this:

• ISO 100

• f/2.8

• 1/2000 sec

• HSS turned on

• Flash in a softbox, off-camera

The shutter speed brings the bright background down. The flash brings your subject back up. That's HSS doing its job.

Why Not Just Use Normal Flash Sync?

At normal sync speed, say 1/200 sec, bright daylight might force you to use f/8, f/11 or even f/16. That gives you more depth of field, so the background is sharper.

That can work fine for some shots, but if you're after that more cinematic, shallow-depth portrait look, it becomes limiting fast. HSS removes that restriction entirely.

The Limitations of High-Speed Sync

HSS is brilliant, but it's not without trade-offs.

1. You lose flash power

This is the big one. Because the flash is pulsing rapidly rather than firing one full burst, the available power drops significantly. The faster your shutter speed, the more power you lose. At 1/4000 sec, your flash has nowhere near the effective reach it has at 1/200 sec.

2. You may need the flash closer

With less power available, you'll often need to bring the light in closer to your subject. That's not necessarily a bad thing, closer light is usually softer, but it can be a problem if you need to light someone from further away.

3. Battery drain is higher

HSS makes the flash work harder, which means more battery use, slower recycle times, more heat, and fewer shots per charge. Fine for a quick portrait session. Worth thinking about for fast-paced shoots, events, or long days.

4. It's not ideal for overpowering the sun

You can use HSS in bright sunlight, but if your goal is to completely overpower harsh midday sun, you need a genuinely powerful light. Small speedlights tend to struggle here. Something like a Westcott FJ400, or similar, is much better suited to the job.

5. It can be less efficient than an ND filter

An ND filter lets you keep your shutter speed at normal sync speed while still shooting wide open. For example:

• ISO 100

• f/2.8

• 1/200 sec

• ND filter fitted

• Flash at normal sync

This keeps far more flash power in reserve. So the real choice often comes down to this:

HSS is faster and simpler, with no filter needed. An ND filter gives you more flash power, but it's slower to work with.

HSS vs ND Filter

Use HSS when:

• you want to work quickly

• the light is changing

• you don't want to mess about with filters

• you're shooting portraits outdoors

• you need flexibility with shutter speed

• your flash has enough power to spare

Use an ND filter when:

• you need maximum flash power

• you're working in very bright conditions

• your flash is struggling to keep up

• you want to stay at normal sync speed

• you're happy taking a little more time

Neither is better than the other. They're just different tools for different jobs.

The Big Thing to Remember

High-Speed Sync is mainly about creative control. It lets you shoot with flash at fast shutter speeds so you can use wide apertures, darken the ambient light, hold onto detail in bright backgrounds, create separation, and light your subject properly outdoors.

The price you pay is reduced flash power. So the practical rule I stick to is this:

Use HSS when you need the shutter speed. Avoid it when you need maximum flash power.

That's HSS in a nutshell. It gives you freedom, but it charges you for it in flash output.

Photographing Falklands War Veterans

This past weekend when heading to Portsmouth for the Community Photo Walk, I also packed an off camera flash, soft-box and monopod just incase an opportunity arose to take a portrait, and boy ... am I glad I did!

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Chris Taylor; (parading The Waterlooville RNA Branch Standard)

Served on HMS Invincible in 1982

Richard Shenton; (parading today, the South Atlantic Medal 82 Association Standard)

Deputy RNA National Standard Bearer 

Area and Branch Standard Bearer and HMS Bristol Standard Bearer

Served on HMS Bristol in 1982

Dean Deakins; (parading today, HMS Exeter Standard)

HMS Exeter Association Standard Bearer and Royal Naval Association (RNA) Area 3 Ceremonial Adviser

Served on HMS Exeter in 1982

All are proud holders of The South Atlantic Medal (with Rosette), Falklands Veterans and members of the RNA.

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With it just so happening to be Liberation Day on the day of the Photo Walk, there were lots of Royal Navy Falklands War Veterans present for the morning service, who there then congregating near an area called "Hotwalls".

I was stood with Geoff Sargeant at the time, both of us watching with me at one point spotting a gent that would be so good to photograph. I pointed him out to Geoff and the decision was made ... let's go for it!

I grabbed the kit from my car with the help of my mate, Andy Hughes, and by the time I'd headed back to Geoff, I could see he was in conversation with the very man (and his colleagues) that I wanted to photograph.

Still taken from video filmed by Lee Churchill

Thanks to Geoff, after a quick introduction and explantion of what I had in mind, all 3 were "Game On" ... although asking them to walk on the stoney beach in their brightly bulled parade shoes took a little convincing. But, "Game On" they were.

I'd only brought along my Medium Westcott Octa as I'd only imagined taking individual portraits on the day if the opportunity arose, but with the weather conditions as they were, this worked out great. Having Andy hold the lighting ( Westcott FJ400II ) a little further back meant I was able to get even light across all 3 Veterans, but also create the same light and shadows being created by the sun.

Photograph by Brian Lee

Having the camera in Manual, I dialled in the necessary camera settings to give me the "scene" I wanted with detail in the sky, I then decided to use the Flash in TTL as the lighting conditions were constant i.e. no fast moving clouds to change the light as they covered then reveal the sun)

Kit + Settings
Fuji X-T5
Fuji 16-55mm f/2.8 R LM WR II
16mm
1/200sec

f/9.0
ISO 80

Lighting
Westcott FJ400II
Westcott Rapid Box Switch Medium Octa

TTL with no + or - compensation

Photograph by Brian Lee

*In 'Post' the metal railings and concrete platform have been removed to give a clear backdrop of Portsmouth Harbour from where the 1982 Falklands Task Force: the Royal Navy’s carriers HMS Hermes and HMS Invincible sailed from, heading for the South Atlantic on 5 April 1982, at the start of the Falklands War.

Final image has already been sent over to each of the Veterans with the offer to also send over a print should they wish to have one.

Consequently after this, a Falklands War Veterans Project has been born!

Premium Lifetime is Now Available Inside The Photography Community

I’m really pleased to share that there is now a Premium Lifetime option available inside The Photography Community on Skool.

This is something I’ve been thinking about for a while, because I know many people are trying to cut down on subscriptions. We all seem to have enough monthly and yearly payments quietly ticking away in the background, and I completely understand why adding another one can feel like a bit much.

So Premium Lifetime is designed to keep things simple.

You pay once, and you get ongoing access to the Premium area inside The Photography Community.

No yearly renewal.
No monthly payment.
No subscription to keep track of.

Just a one-time payment for Premium access.

What is The Photography Community?

The Photography Community is a friendly online space for people who love photography and editing their images.

It is a place to share images, take part in challenges, join live calls, ask questions, learn new techniques and connect with like-minded people who enjoy photography as much as you do.

The free side of the community is still there and is not changing.

You can still join for free, be part of the forum, take part in the monthly challenges, join the wider community calls and share your work.

Premium Lifetime is simply an optional upgrade for those who want more structured learning, access to the Premium Classroom and additional Premium sessions.

The Current Premium Options

At the moment, Premium is available as either:

• $15/month

• $99/year

These options are still there for anyone who prefers to pay monthly or annually.

But for those who would rather avoid another ongoing payment, there is now a new option:

Premium Lifetime

Premium Lifetime is available for:

$199 one-time payment

That means you pay once and get ongoing access to the Premium area inside The Photography Community.

No monthly payment.
No yearly renewal.
No subscription.

What Does Premium Lifetime Include?

Premium Lifetime gives you access to the Premium area inside The Photography Community.

This includes:

• Premium Classroom access

• Existing masterclasses and tutorials

• Conference Recordings

• Premium session recordings

• Guest webinar recordings

• Premium live sessions

• Live Image Feedback + Progress Sessions

The Premium Classroom includes training and recordings covering photography, editing, lighting, printing, creativity and more, all in one place inside the community.

The Live Image Feedback + Progress Sessions are designed to help members move forward with their photography in a more focused way. These are practical sessions where we look at selected images together and talk through what is working, what could be strengthened, and how to keep progressing.

Why Lifetime?

The idea is simple.

I wanted to create an option for people who want access to Premium without needing to sign up to another subscription.

A yearly or monthly payment can be great for some people, but it is not for everyone. Premium Lifetime gives you another choice.

Pay once, get access to Premium, and enjoy the training and sessions without thinking about renewals.

Is the Free Community Changing?

No.

The free side of The Photography Community stays exactly as it is.

Nothing is being removed.

The forum, challenges, community interaction and wider activity are still part of the free community.

Premium Lifetime is just there for members who want to go a little deeper and have access to the Premium Classroom, extra sessions and recordings.

A Quick Note About Future Content

Premium Lifetime includes access to the current Premium library and future Premium session recordings added inside the community.

Separate standalone courses, special workshops, events or programmes may still be sold separately.

I want to be clear about that from the start, so everyone knows exactly what Premium Lifetime includes.

Who Is Premium Lifetime For?

Premium Lifetime is ideal if you:

• Want structured photography and editing training

• Prefer a one-time payment instead of a subscription

• Like having tutorials and recordings available in one place

• Want access to Premium live sessions

• Want to join the Live Image Feedback + Progress Sessions

• Enjoy learning as part of a friendly photography community

It is for photographers who want to keep learning, stay inspired and have a place to come back to when they want guidance, ideas or a bit of creative momentum.

How to Join Premium Lifetime

Premium Lifetime is available now for $199 one-time payment.

After purchase, your Skool account will be manually upgraded to Premium, so please make sure you use the same email address you use for The Photography Community on Skool.

If you are already a Premium member and would like to move over to Lifetime, just send me a direct message and I’ll help you with that.

Thanks so much for being part of The Photography Community.

Whether you are here as a free member, monthly Premium member, annual Premium member, or decide to upgrade to Premium Lifetime, I’m really glad you’re part of it.

See you inside,
Glyn

How Lightroom Shared Albums Impact Storage and Download Sizes

Something that catches a lot of people out is the difference between how Lightroom Desktop/Mobile handles your photos in the cloud versus what happens when you sync from Lightroom Classic.

They look similar on the surface but behave very differently, especially if you're using the Share and Invite web gallery feature.

Here's how it breaks down.

Uploading from Lightroom Desktop or Mobile

When you copy photos to the cloud using Lightroom Desktop or Mobile, you're uploading the original file, whether that's a RAW or a JPEG.

• Cloud storage: This counts against your Adobe storage allowance. Every file you add uses the same amount of space as the original. Upload 100 RAW files at 25MB each and you've used 2.5GB of your plan's storage, whether that's 20GB or 1TB.

• What your “client” downloads: A full-resolution JPEG. The pixel dimensions match your original, so a 24-megapixel file stays 24 megapixels. Adobe converts the RAW to JPEG for delivery, so a 24MB RAW might come down as a 4 to 8MB JPEG, but the detail is all there.

Official Adobe Reference: You can read the storage rules directly in the Adobe Help: Lightroom Cloud Storage FAQ. Look under the "How does storage work in Lightroom?" section, which details how original files consume your plan's space.

Syncing from Lightroom Classic

When you tick the Sync with Lightroom box on a Collection inside Classic, your original files stay on your hard drive. What goes up to the cloud is a Smart Preview.

• Cloud storage: This uses none of your allocated storage. Adobe syncs these Smart Previews completely free of charge, and they count for nothing against your 20GB or 1TB limit.

• What your “client” downloads: A reduced-resolution JPEG, capped at 2560 pixels on the longest edge. That's it. Because the cloud only holds the Smart Preview, that's all anyone can download.

Official Adobe Reference: This storage exception is outlined in the Adobe Help: Sync Lightroom Classic with Lightroom Ecosystem guide. Check the "Sync overview" and the "FAQ" at the bottom, which explicitly states that Smart Previews do not consume your cloud storage quota.

Quick Summary

If you're sharing a web gallery and have Allow Downloads switched on, what your viewer receives depends entirely on where the file came from:

• Lightroom Desktop or Mobile as the source: Uses your cloud storage. Viewer downloads a full-resolution JPEG.

• Lightroom Classic Collection as the source: Uses zero cloud storage. Viewer downloads a 2560px JPEG, maximum.

Official Adobe Reference: The download behavior for shared galleries is documented in the Adobe Help: Share Photos and Albums from Lightroom Web guide under the "Allow downloads" and "Shared Album Settings" toggles.

The practical takeaway is straightforward; if your “clients” need full-resolution files, upload via Lightroom Desktop or Mobile and keep an eye on your storage. If they just need to view images or grab web-sized copies, syncing from Classic is far more efficient and won't touch your storage allowance at all.