60 Minutes

• Professional photography article •

“I have a dream, and I need a few serious photographs from you to make it happen.”

That was Csabi's request when he walked into the studio.

We had originally planned to work outdoors, but by then there was too little light to create the kind of images we wanted, so we moved inside.

The assignment was a serious challenge:

He wanted the photographs for his application to the sports reality show Exatlon.

Because this was already closer to an advertising-photography project, the first step was to create a concept.

The goal was to present both his character and his physique in a strong, slightly mysterious mood.

Simple.

Clean.

Decisive.

I had heard of the programme before.

And because I had also worked with contestants from talent shows such as X-Faktor and The Voice, I knew that one of the most important elements in casting is a good story.

Csaba already had one.

He had started as a circus performer and later became a recognised breakdancer.

On top of that, he had achieved serious results in wakeboarding.

The second important factor was visual character and presence.

A reality-show contestant also needs to attract fans who may later become part of their voting base.

That was the point when we began looking online at how winning personalities had been presented visually in similar international formats.

It was important not to copy anything.

But the photographs still needed to create a strong, immediate impression.

Then came the Olympus PEN-F, a genuinely professional creative tool made with artists in mind.

For almost a month now, however, I have been deliberately pushing the limits of the entry-level Olympus E-M10 Mark III.

I first picked it up at the Budapest Photography Challenge.

I liked it so much that I have kept creating with it.

I had not yet used it in studio conditions, so I was slightly nervous.

The last thing I wanted was to waste the client's time while I struggled with unfamiliar settings.

I wanted one image using continuous light and another with flash.

To be safe, I chose the M.Zuiko 45mm PRO.

Its f/1.2 aperture meant I could keep ISO significantly lower, and a shutter speed of 1/30 sec combined with in-body image stabilisation was perfectly workable for a stationary subject.

For the flash setup I used a single light placed high above the subject and angled downward.

I combined it with a beauty dish and honeycomb grid so I could highlight the muscle groups in the most aesthetic way.

We built the concept around the clothes Csaba had brought.

I lowered the black backdrop so that it would swallow almost all stray light.

I switched the electronic viewfinder into simulated OVF mode.

Then I measured the light, set the values and made the exposure.

I was curious how far we could take the camera using only JPEG, because an article by László Wilhelem on JPEG versus RAW had stayed in my mind.

Our goal was to create three distinct types of image.

We gave ourselves exactly sixty minutes.

We quickly edited the photographs in the Snapseed mobile app.

And when we looked at the final result, both of us agreed:

We had done a pretty good job.

Authentic portrait photography does more than create a flattering image: it reveals character, presence and personality.

Part of the BANHALMI ecosystem

For the professional context and practical side of portrait photography, visit the BANHALMI professional website. Related art series, books and exhibitions are preserved in the BANHALMI ART archive.