It’s that time again, and the Team at Kingsize will be closing our doors:

December 24th: 7:30am – 3pm
December 25th – January 4th: CLOSED
January 5th: 7:30am – 7pm
January 6th: 7:30am – 7pm

If you need to get a hold of us over that time, please call us:
25th Dec to 3rd January: Call Christian on 021 1800 525
4th January: Call Adam on 021 908 179

From all of us at Kingsize, have a safe and happy holiday, and we’ll see you in the new year!




Kingsize sells film for 35mm, 120 and Polaroid / Instax cameras. We offer a variety of cover and B&W in a range of ISO/ASA speeds. Often we will stock some unique films that we find from around the world, so there is often some unexpected variety. SHOP NOW




Rent any gear from 24th Dec to 5th January, pay for 1x day. Call / email us now.



2015 Summer School

We covered a lot in the 2015 Summer School. Here are a few examples of images the photographers made as they did exercises in portrait lighting, high speed flash, stroboscopic photography and lots of gels!

In January 2016, we are running two Summer School weeks. Places are limited and they’re booking up fast. Find out more and book a place here:

2016 Kingsize Summer School.

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Images by John Shen, Evan Xiao, Leila Wrathall, Hazel Anson, Isabel Clarke, Michael Kooge, Hayden Worsfold

Photography summer school


Photography Summer School at Kingsize Studios


For over 15 years, Kingsize Studios has been at the heart of fashion and advertising photography in New Zealand. For the first time, we are opening up the studios for an intensive 5 day photography course. We live in an age of social media and the “slashie” generation where photography isn’t just for photographers. Whether you’re a designer, writer, brand manager, working in media or in sales- an ability to make great photographs is an invaluable asset.

Mon 11 – Fri 15 January 2016
9:00am – 4:00pm each day
$475 per person


Tues 5 – Sat 9 January 2016
9:00am – 4:00pm each day



Wet Plate Collodion at Kingsize

For the past 3 years or so our studio and education manager, Luke White, has written a regular article for D-Photo magazine on lighting. In the last issue he wrote about about a recent studio shoot where he collaborated with Paul Alsop to make a series of collodion wet plate portraits.

D-Photo 68 In the Studio

D-Photo 68 In the StudioD-Photo 68 In the Studio2Behind the Scenes video:

Screen Shot 2015-12-08 at 1.54.16 pmPaul and Luke Shoot for web (11 of 36) Paul and Luke Shoot for web (12 of 36) Paul and Luke Shoot for web (24 of 36)


Summer School 2015


In January this year, we ran our first ever Summer School programme. Every day on this week long programme, photographers met for a class in the morning on a specific topic before being tasked with shooting a technical exercise or creative brief in studio or on location. Each afternoon was a critique and a different class before more shooting. It was a lot of fun. As we keep the number of participants in Summer School small, we were able to tailor the workshop topics to ones most relevant to the group. The photographers had the opportunity to spend time making work which most interested them whether it was portraiture, food, still life, video or conceptual image making to sharpen their skills and make portfolio work.

Being Kingsize, there was a real emphasis on shaping light and working to master control of flash lighting in studio and on location. Participants also worked with constant light (tungsten, LED, Fluro, HMI) and to make the very most from natural and available light. We spent time discussing the great photographers working today and through history, looking at their work for inspiration and to see what is possible.

Here are some behind the scenes photographs from the week. We’ll follow up with another blog post showing some of the great work the students produced.

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As well as students and graduates, we had professionals from the worlds of architecture, videography, food and graphic design. There is no minimum skill requirement to be part of Summer School but it is open to photographers aged 16 and over only. If you’re interested in being part of the 2016 Summer School, click through this link for more information and to book a place.


Canon 100 – 400mm L Lens Review

Last week we send photographer Bas van Est out with the new Canon 100 – 400mm L lens to test out. Here are his thoughts…

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By now the Canon 100 – 400mm lens is well covered with high profile reviews and, in the world of technology, pretty much old news. However, it did take Canon 10 years to release the Mk2 so I feel this lens is worth the extra chat.
I had a good read at the reviews online (Ken Rockwell, DP preview etc) before taking it out into the field myself. And by field I mean, stash it in my backpack on a 5 hour roadtrip  up north to test it on some lifestyle / surf photography vibes.

It’s considered to be amazing, yet I still had my reservations due to past experience with lenses that cover such extensive focal range.

On this trip I matched the lens up with a Canon 5D mk 3 as well as an EOS 1DV SLR and below are some of my findings.

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The size of the 100-400mm when packed away is similar to the 70-200 f2.8 so if you’re already used to carrying that around then you will barely feel the difference. The ability to shoot at 400mm without an extender and still have the range to pull back to 100mm for a wider shot was super useful for the landscape shots that I got on this trip. It definitely beats carrying a 200-400mm around, from a weight (and price point) perspective.
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I tested the speed of the focus as the sun was shining directly into the lens but not once did it hesitate or delay when grabbing focus. This was probably one of the most impressive features for me, which I think will apply very well for shooting outdoor adventure sports aimed straight into that morning or evening light. Unfortunately the surf wasn’t pumping enough to put the focus modes to the test but the odd seagull were a dream to capture, even at 400mm.
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I was standing on rocks shooting handheld at 1/80 @ 400mm and some motion blur was showing in the image….no surprises there. I only had to push it another stop to 1/160th and the IS managed to get me a stable shot @ 400mm.

Ok, so the lens is not as fast, especially with an minimum aperture of f5.6 @400mm, but the ISO performance on all the latest camera’s will make up for the 2 stops difference, and don’t forget….it’s @ 400mm!!!!
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I didn’t work with an variable ND or Circular polariser but the access latch in the lens hood to adjust such filters is a pretty clever addition.

The lens is so sharp that the screen on the back of the camera cannot render the image to the full capacity, and thus the results in post were far better then I had initially expected.
With outstanding industry reviews, a growing number of emerging photographers combined with my own experience from this trip I can see why a specialist focal range has been popular at since they got the lens in at Kingsize. If only I could justify the purchase!!

ps: It works just as well on the latest Canon Automatic SLR film cameras, for those that want to #staybrokeshootfilm


Check out what Bas shoots when he’s not testing lenses over on his WEBSITE.

Bas-van Est
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NZIPP Kingsize Scholarship

For the past 6 weeks I’ve been working with some very talented photographers who are part of the Kingsize NZIPP Scholarship. We devised the Scholarship as a way for professional photographers to up-skill in all areas and take their careers to the next level over 12 weeks. Each week we have a group critique, discuss on a specific topic and meet with a different guest speaker to talk about a specific area of photography such as production, posing or gallery curation. I also give each photographer a weekly technical assignment. Last week the assignment was about lighting on location. Although they are all experienced photographers, none had much experience taking battery powered studio lights on location.

The reason I love introduced lighting so much is that it is completely controllable and repeatable. As wonderful as natural light is- it cannot be trusted to give you the results you need because of things like seasons, clouds, location of the Sun and time of day. There are also locations where the natural light will never look nice such as on an open beach in direct sunlight- the shadows are much too hard. Or next to a shady cliff face where it is simply too dark.

1. AliceDoigBTS 1. AliceDoig

Alice Doig wanted to achieve a fresh, light, summery look to her portrait of Keeley (Unique Model Management) with the beach and ocean as the backdrop. First Alice needed to create shade for her model to block the harsh, direct sunlight. To do this, she set up three lightweight Chimera frames with black fabric as a sort of makeshift arch which also acted as a negative fill, giving more definition to the model and providing edge separation from the light background. A single key light way used to give directional illumination and shaping. While the large dish used is relatively quite ‘hard’ and directional, it is far more flattering than direct sunlight and is just hard enough that it could pass for sunlight. A major benefit, of course, is that the key light could be positioned wherever Alice liked in order to include the most photogenic background. Which is something you can’t do with the Sun. The ambient daylight bouncing from the beach and everywhere else provided a relatively flat ‘fill’ which means that the shadows cast by the key light are distinct but not too dark.

2. MandiLynn BTS2. MandiLynn
Mandi Lynn took dancer Grace Woollett to a West Coast beach and wanted the capture the drama of performance in the landscape. Using a powerful (1,200j) Broncolor Move Pack and single flash head, she balanced the ambient light with the flash. The sun was low in the dusk sky and behind the subject meaning that she would be in shadow if ambient light only had been used. A standard P70 dish was selected to replicate the feel of sunlight and freeze the movement. By utilising both flash and constant light (daylight) to make this image, Mandi froze the action with an exposure time just long enough for a little motion blur to be present and communicate movement.

3. Penny Aspin

Penny Aspin found a perfect location for her dramatic portrait but the light was awful. The cliff is high and the model overshadowed by trees making for dark and flat lighting. The dim location required both a fill light and a key so she used a Broncolor Move Pack with two MobLED flash heads. The key light was positioned high to camera right. Penny chose a Chimera Octa 2 Beauty softbox which is a fantastic 24” collapsable beauty dish and perfect for this type of photograph. It provides light which is just soft enough to be flattering to sitters but also small enough to give good shape and definition to people and garments.

In each of these images, I think the photographer perfectly matched the position and quality of the light with the environment to make for a balanced and realistic result. All three of these portraits would be impossible without location lighting.



This Labour Weekend, rent any gear and only pay for 1 day.

Collect anytime Friday and return anytime Tuesday between 7:30am-7pm.