173 ☼ A Daredevil Magazine Shoot
a field test with my new camera + lens setup
Dear friends,
In this week’s newsletter: field-testing my new digital client camera, the Canon R5, by shooting an editorial story for a print magazine—while riding a bike!
Upcoming Process Workshops - Survey
I’m planning some in-person and online workshops for 2025 and would love to hear your thoughts on what you'd be interested in. The survey below has just 6 questions and will take less than 3 minutes to complete. Your input means a lot to me! <3
Discounted Process Workbooks!
Thank you for the great response to last week's release of Process Workbook, Volume Two! It's packed with assignments and prompts to help you move from thinking to making. With the holidays approaching, I've decided to extend the Early Bird discount for another week and have added the same discount to Volume One, too—discount valid until December 22nd. Grab one or both here! Preview below.
Field Testing My New Camera Setup, While Biking
A couple of weeks ago, I wrote about upgrading my client photography setup from the Canon 5D Mark IV to the Canon R5. As you may remember from that issue, the R5 isn’t the newest generation Canon camera on the market, but it was a natural upgrade for me with small but important improvements around weight, speed, and accuracy that I wanted to be able to offer my editorial and commercial clients. I’ve had a few shoots with it now, and I want to share one that stood out—not just because of the new gear but also because of the experience.
A few weeks ago, I worked on an assignment for VPRO Gids, a national print magazine in the Netherlands. Having grown up watching VPRO programming, I never imagined seeing my name in their magazine, let alone contributing to it—especially since they rarely commission photographers. This opportunity came down to being in the right place at the right time. I’d recently connected with the editor through an introduction from someone I met on another job, just as they were looking for someone like me. Everything aligned perfectly.
The assignment was to photograph two coaches at DSRV Laga, a student-run rowing club in Delft. It’s an impressive club, both in history (founded in 1872) and spirit. The photos were to accompany a piece by journalist Daan Schneider about Water & Bier, a documentary featuring the team. The brief was simple: capture the coaches during training. No posing, nothing staged—just real, natural moments.
At 6 a.m. on the day of the shoot, I found myself bleary-eyed, walking to the tram in Amsterdam, hopping on a train to Delft, and finally renting a bike at the station to get to the training grounds. It was cold and wet and still dark, but by the time I arrived, the sun was starting to rise. The light was soft and while I prefer harsher sunlight the clouds ended up helping me out and allowing me to shoot at sharp upward angles.
The real challenge came when I realized how physically demanding this shoot would be. The coaches don’t stand still—they bike alongside the water as the rowing team speeds ahead. To keep up and get the shots I wanted, I had to do the same.
So there I was, biking with one hand while holding the R5 in the other, snapping photos as we raced along the canal. It was exhausting and maybe a little reckless. But it worked. The R5’s lighter weight made a huge difference—it’s not something I would’ve been comfortable doing with my old setup.
After the action shots, I photographed the midpoint break, where the coaches stopped to give the rowers feedback at the half-way point before turning back around for the second part of training.
I headed back to the training grounds to catch the post-session routine: carrying the boats out of the water, cleaning them, and putting them away. It was nice to see how much care the students put into it—not just because the boats are expensive, but also out of respect for their teammates. It made me chuckle, thinking about how careful they were compared to my earlier bike ride, camera in one hand, barely hanging on.
Back in Amsterdam, I delivered the photos to my editor and was excited to hear they liked them so much that the article was expanded from one image to three. That’s always a quiet win for me—when the client can’t settle on just one. They even chose one of my favorite “weird” shots (see above, right), which felt like a second win. Moments like that make the early morning and sore legs totally worth it.
I loved working on this story. It gave me the chance to step into a world I knew little about, ask all the questions I wanted, and document everything along the way. For me, that’s what photography is all about—following my curiosity, with my camera as a passport that allows me to explore places I’m not yet familiar with.
The R5 performed really well—its lighter weight, slightly faster and more accurate autofocus, and improved colors gave me a little boost in extra confidence to handle a less controlled, more dynamic environment. Since this shoot, I’ve used the R5 on other assignments, including a recent portrait session for one of my favorite recent clients, this time tethered on location, and that went really well also.
It's easy to get caught up in technical specs and gear debates. But for me, the real test is whether the camera helps me tell the story I want. This one passed with flying colors.
Just a reminder that you don’t need the latest gear to create work you're proud of. Most of my past digital client work was shot with the Mark III and Mark IV, and it still holds up. The R5 I'm using now isn't the newest model—Canon’s already released the R5 Mark II—but I went with an earlier version to save money and because buying second-hand feels more responsible to me.
If you’re considering an upgrade or your next creative step, my advice is to focus on what works for you. It’s not about having the latest gear, bur about what helps you show up and do work that you care about.
Thank you for reading. Process is the result of collaborative creativity. It’s written by me and supported by you—whether you read, share, comment, buy my books, hire me for portraits or mentoring, or become a paid subscriber and member of the Process Photo Club:
NEXT WEEK: The big year-end issue with a look back at my goals for 2024 and how that all played out. Last issue of 2024!
And just a reminder to please fill out the short Process Workshop Survey below. <3
If your camera is nearby, maybe it’s time to head out. There’s always something worth photographing, even if it’s just your morning walk or the way the light hits your coffee.
Keep shooting and take good care of yourselves and others. <3
Wesley
PS ICYMI: This morning at 6 AM, I had a great conversation with Eva Koreman on NPO Radio 1's program Een Uur Cultuur. We chatted about my new book NOTICE Journal, Volume One, and more. The interview is in Dutch, and you can listen to it here.
Gear & Tools Used
Camera: Canon EOS R5 and the Canon RF 24-70 mm f/2.8 L IS USM.
As I shared in Process 171, I traded in my old camera and lens setup on MPB.com for this R5 and lens combo. The process was simple, saved me money, and gave my old gear a second life—something I really value about buying second-hand. Stay tuned for an unboxing video of the new setup!
Thank you to the good folks at MPB.com for helping make this all possible and for supporting Process. They’re my go-to place to buy, sell, and trade used cameras and lenses. I love their service and am a paying customer. MPB caters to over 625,000 visual storytellers and provides a 6-month warranty. Thanks for the support, MPB! <3
Lab: All my analog work is developed and scanned by my friends at Carmencita Film Lab. They’re my favorite lab in the world. Use code “PROCESS” to get a free upgrade.
Can’t get enough Process? Browse the Process Archives.
Great article, Wesley. I can literally see you riding on that OV fiets (public transport rental bike), haha. Too bad they did not use one of those shots, I like the one with the coach on his bike with the megaphone. Still great assignment and it worked out very well.