UK Production Stills Photographer » Film and Television Publicity Stills by Angus Young

My good friend and superstar director, Lewis Arnold nominated me to The Reinvention Diva Magazine. It’s not your average artist interview.

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Click the image above to jump to the interview

You’ll also get a first look at three of my stills from films I’m very proud to have been involved in:
Orbit Ever After, No Logo Films’ British Film Institute funded (and Bafta nominated) film featuring Mackenzie Crook and Thomas Brodie-Sangster.
The Fitzroy the Dresden Pictures post-apocalyptic film starring Cerith Flynn
Two Missing the Parkville Pictures thriller starring Morfydd Clark and Sophie Kennedy Clark

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With thanks to Aquatech USA and their UK Distributor Fixation UK I have just received the latest version of the already highly regarded Aquatech sound blimp for the Canon 5D Mark III. I have been using the first generation blimp for 12 months now and aside from a few niggles, I have found it to be an exceptional tool – so I was very excited to see how they would improve on an already great product.

Did you notice in the last two comparison images how much better the newer version fits in my hand? It is much more comfortable and far less cumbersome.

There are a number of key changes in the new version and these include:

  • Dual shutter controls, one to focus, and one to release the shutter – I’m already finding these buttons easier to use than those of the earlier version
  • Taller profile, only slightly, but definitely taller
  • Larger diameter lens tubes – this means that your version 1 tubes and lens tube hoods will not work with the version 2 blimp but it’s now easier to slide your finger in to release the lens for quicker changes
  • Version 2 is noticeably shallower, front to back making it much more ergonomically comfortable in the hand, easier to get the camera in and out of too.
  • New black clip replacing the shiny (reflective) metal clip to seal the blimp. The new one is more adjustable and feels easier to use
  • Fewer rear camera controllers – only the playback and control wheel remain
  • user-replaceable shutter controls and shutter connection cable
  • Back plate is now predominantly matte black – again, less reflective
  • Slightly lighter

Overall, I love the improvements. Despite the marginal weightloss, the version two feels (from limited on set use) far easier to use for longer periods. I’m really looking forward to continuing to use this blimp on set over the coming months.

For more of my thoughts and discussion of sound blimps, check out Tech Talk 26 and Tech Talk 15.

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  • Anne Marie Fox - July 17, 2013 - 7:16 pm

    Great analysis of the AquaTech blimp. Are they Nikon compatible?

  • PSbyAY - July 18, 2013 - 8:19 am

    Hi Anna, thanks for the question. They do versions for Nikon, yes.


Earlier this year I was asked to shoot stills for Noah and the Whale’s ( ambitious science fiction film Heart of Nowhere. This film was produced by Parkville Pictures ( and directed by lead singer Charlie Fink. The whole of Noah and the Whale’s line-up are featured throughout the film.

Despite the cold locations of the east of London this was a brilliant project to work on with some incredibly talented film makers and cast including Toby Regbo, Bill Millner, Josh Bolt and Anna Hogarth.

Here’s your first taste of this film in Noah and the Whale’s beautiful first single: There Will Come A Time.

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This year is already off to a brilliant start for me. I’ve just finished up on:

Orbit Ever After – Jamie Stone’s stunning sci-fi love story starring Thomas Brodie-Sangster, Mackenzie Crook, Bronagh Gallagher, Bob Goody and Naomi Battrick which was funded by BFI Lighthouse and included one of the finest assemblies of film makers I’ve worked with. More information and a selection of my stills from the film is available via the Orbit Ever After Official Facebook | Production Blog.

Pleasure Beach – Paul Bassinthwaighte’s dark, but hopeful story set in and starring Chris Luca, Chris Richardson and Frances Ruffelle. Pleasure Beach is produced by the lovely and talented team at Eavesdrop Films.

Tomorrow I kick off on a film to celebrate the new Noah and the Whale album and directed by the band’s own Charlie Fink and then roll straight into another film after that.

This is just a quick post to show off the latest update to my Portfolio and Credits. Please do check them out and get in touch if you’re producing high quality visually exciting drama and need the stills photographer who will produce the images you need to promote it.

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  • Allie@photographer London - September 12, 2013 - 12:34 pm

    congratulation for your kick off party to celebrate new film named “Noah and the Whale”. Thanks to show off your latest update..all the best.

I’m very proud to announce this stunning poster for Phil Arntz and Alex Campbell’s short film Sophie.

The image is not a replication of a frame from the film. I captured this at a complete 90 degree angle to the wide rickshaw tracking shot of the motion camera. The actual motion shot will be awesome as our hero Robin Varley runs terrified through a field dodging the pyrotechnic “mortar” blasts as Spitfire fighters fly overhead.

My angle of choice was based on a need to capture the intensity of the moment that was best represented in Robin’s facial expression. I’m also always looking for images that provide the right amount of dead space that provides for the design elements in a “One Sheet” (film poster).

Ordinarily I’d love to have caught the image during a take, but because the rickshaw shot was so long it was difficult to safely get the perfect moment – even at 200mm of zoom! Nothing would have ruined the epic shot more than my head and long white lens appearing inopportunely in DOP’s frame. Because of this, I negotiated with Alison Winter (our First Assistant Director) and Robin to recreate the earliest part of his mad dash as a separate “take for stills” while the crew commenced a location move to the trenches.

Robin was very good to me and engaged with me 100% giving me two runs at the scene – I shot permutations in landscape and another in portrait orientation. The image was captured using my photographic dream team – 5D Mark III and 70-200mm f/2.8 “L” series lens.

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Sophie Film | Phil Arntz | Alex Campbell | Robin Varley

Phil Arntz, Director of Sophie

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