Field-steady with Shinobi

Jon Bailey is based in South Cheshire, UK, and has worked in photography and videography for around 15 years. He first began in the angling industry, capturing the tranquil atmosphere on the water. “That’s still a big part of how I work today,” Jon says. “Most of what I shoot is outdoors, on‑site, or out in the field, so my setup has to be adaptable and efficient while still delivering a high‑end result.”

Through his company, Jon Bailey Media, Jon now works with outdoor brands, trades, property businesses, and event organisers. His main camera is the Canon R6 Mark II, and he rotates between three lenses: the RF 15–35mm f/2.8, RF 70–200mm f/2.8, and a Sigma Art 50mm f/1.4. “That gives me everything from wide environmental shots to tighter, more cinematic work,” he explains. The camera is rigged in a SmallRig cage for flexibility, and audio is managed through the DJI Mic system or a Rode VideoMic Pro for lightweight run-and-gun filming.

For monitoring, Jon uses Shinobi II with an external power setup for long shooting days. “A big factor for me was the camera control and touchscreen functionality – that was a huge decision‑maker,” he says. His previous monitor didn’t offer touchscreen control, and changing settings on the go slowed him down. “It would break the flow of shooting, which isn’t ideal when moments are happening quickly.”

With Shinobi II, Jon can make adjustments with a quick tap on the display, even when the camera is rigged, mounted or positioned awkwardly. “Being able to control key settings directly from the screen makes everything much more responsive,” Jon says. “When you’re working outdoors or in uncontrolled lighting, relying on the camera screen alone can be limiting. Shinobi II gives me a clear, accurate view of what I’m capturing, so I can trust what I’m seeing and make decisions quickly.”

The exposure tools built into Shinobi II play a huge part in Jon’s workflow. “False color removes the guesswork from exposure, especially when lighting conditions are changing quickly,” he says. “I can make accurate adjustments straight away rather than relying on the camera screen or fixing things later.”

He uses focus peaking just as much, particularly when he’s shooting with fast lenses or tracking movement. “When I’m on something like the 50mm f/1.4, it gives that extra level of assurance that critical focus is exactly where it needs to be.”

“Exposure stayed controlled, focus stayed locked in, and I wasn’t second‑guessing anything.”