We receive many requests asking about the studio and equipment that Garry Orriss uses. Choosing the right equipment is fundamental when it comes to quality, even when working on location in other countries. It must be reliable and dependable, so that is why only the best is used.

For complete glide free movement, Trolly-dolly ©
The jumpcut trolly-dolly system is chosen for its excellent results, it is extremely versatile, sturdy and able to withstand the rigors of prolonged use and with heavy loads. It accommodates and aids in the complete glide and wobble free movement of the dolly, even around corners and with a camera crane. The Jumpcut trolly-dolly has 16 wheels and has a carrying capacity of over 600 kg and is considered one of the best. It is manufactured by Richard Eckes of Germany and is fitted with a drag and pull rod and can be built up to accept a bazooka, or as pictured with a rotating seat that the camera person can sit on. The dolly is able to run on either metal railings or PVC pipe and this adds further to its versatility. The Jumpcut professional dolly is chosen by to document and film the various Garry Orriss projects when working overseas. For more information about the jumpcut dolly system please go to:

The Canon XL-1s and XL-2 are our chosen choices © Goart
Canon XL-1s is the camera favoured by Goart because of its compact size and finest 3CC digital image quality. We combine two XL-1s with the PS Technik mini-35 Adapter, the Canon FU-1000 professional black and white viewer and an array of Zeiss Distagon lenses. The XL-1s has better than CD, 16 bit two and four channel sound technology and is used in conjunction with an Arriflex 16mm SRIII film camera to make a television and cinema film respectively.

Merging digital with film the PS Technik Mini-35, © Goart
The PS Technik mini-35 Adapter is chosen by Goart because it enriches the visual effect of video to something that could only until now be achieved in motion picture film. The adapter preserves the focal length, depth of field and angle of view of the 35mm format and adds to the look and feel of a documentary film. We use two mini-35 adapters more information about the PS Technik mini-35 Adapter may be found at:

Pictured is a small part of the Sky-Track System ©
IFF is number one world wide for professional lighting and camera supports and is a leader in the photo, broadcast, theatre and film industries. We choose their Top Sky-Track Professional suspension bridges and railings to hang large format cameras with motorized 4C pantographs and counter weights from the ceiling or on mobile stands and trusses. The system is enormous and we can also use it to create Cinerama. This is especially good when Garry Orriss works on location in other countries as we can combine the many advantages that the IFF has to offer and this ultimately saves time and money. Garry Orriss originally chose the IFF Sky Track System because it solves major positioning problems in his complex studios in which floor spaces need to be kept totally clear of power cables, generators, motorized lighting banks, stands and the like. Pictured here is a part of room two in studio 3. The Australian photo-artist Garry Orriss has three studios world wide one of which is in Berlin, Germany. More information about Garry's studios will be published on this website in the near future, in the meantime you may want to visit IFF by going to

Garry working from a mobile studio. ©
Sinar P2. These professional large format cameras are the chosen work horses and they enable Garry to work on two photo projects simultaneously. They are often used as backups and the photos are taken on either 5x7´´or 8x12´´ slide plan film. The Sinar P2 holds no boundary's and can be built up to accommodate every given situation that is required in photography, this is especially good when working on location. For quality and performance the Sinar system forms the heart and backbone of what Garry Orriss does and is indispensable for his artwork. For more information go to

Nikon F6 is the standard documentation camera. © Goart
Nikon F6 Professional is the basic 35mm SLR documentation camera for Goart and is chosen for its many practical innovations. It has the worlds first 3D colour matrix metering system with three separate light meters and four different exposure modes including built in compensation and bracketing. The worlds first flexible centre-weighted meter which enables you to customise the size of the meter for unparalleled exposure results. Its features are endless and with everything from interchangeable lenses, a PC link, viewfinders, focusing screens and a myriad of speciality adaptors make it the world's most comprehensive photographic system.

Pictured is Dirk Moeller with the smaller Glidecam © Goart
Glidecam and Basson Steadicams are used for two very different reasons. The Glidecam Pro is lightweight and versatile, this is good when filming on location or in other countries. Its compact size and lightweight are excellent and it is enjoyed by steadicam operators who can work longer and with less fatigue. Its features include an Orbital Hinge, this allows the gimble to rotate independently and achieve greater extremes in camera tilt. Our second steadycam is the sturdier Basson Silver-Arrow 925 Professional. This is ideal for cameras up to 13kg, 28 lbs. Its robustness, smooth handling and comfort make it the first choice for those who demand the finest in ultra smooth filming. It is precision engineered to distribute the weight over the floating gimbal and is for us the first choice. We use the Basson Professional in conjunction with an Arriflex SRIII. Pictured is the smaller Glidecam. For more information visit Basson at

The Mamiya RZ-Pro IID is the Nr-1 choice for catalogues. ©
Mamiya RZ-67 Professional IID is known as the ideal format and is considered by many professional photographers to be one of the world's best medium format studio cameras. There are many exclusive features one of which is a rotational cassette in either high or wide format and this eliminates the need to realign the camera axis. A 6x7cm format is better suited to publishing than a 6x6 because it takes away the need to crop or waste 33% of the film plane. We use the Mamiya in conjunction with Sinar P2's and it is the number one choice for catalogues, books and posters.

Pictured is one of five Goart system microphone banks. ©
Sennheiser professional microphones are simply the best for professional digital audio sound. They are used in the film and broadcast industry to pick up sound only emanating from the subject area, thereby eliminating unwanted pick up and background noise. We use four highly directional ME-66 shotgun microphone heads with four K6 powering modules. These are used in conjunction with the Evolution EW 501P, portable UHF wireless transmitter and receiver system. The system has better than CD 16 bit four channel 48 kHz sound technology, with the added freedom to move without the need for XLR cables and adaptors. Professional radio-microphone performance like this offers outstanding results with crystal clear sound free of all distortion and interference.

Hedler lighting gives exceptional results. ©
Lighting from Hedler. Although we use lighting from five other major manufacturers, Hedler was chosen because it is extremely light, easy to transport and good when working on location in other countries. High intensity light with a flicker free light beam at 3200 Kelvin ensures that the highest technical standard is attained. We use the top model of the professional series PRIMALUX 2500. Each of the four lights have two sockets for lamps up to 1250 Watts and these hold a constant light distribution of 4700 LUX at 2 meters. While working on location we also use their special labyrinth-filters to convert 3200 Kelvin tungsten light into 5600 Kelvin daylight. Other systems that Garry Orriss uses include, Arri, Multiblitz, Balcar, and Bowens.

Please Note!
This web-page is undergoing an exciting new change that will be available soon!

Garry Orriss uses far more equipment than currently shown on this website and this picture illustrates the tons of equipment that is sometimes used for shooting on location. Garry was photographed in Berlin, Germany shortly before flying to his home land Australia to take the portrait of Wayne and Octivia, two aboriginal friends. Currently there is a film being made about Garry, his life and work that will come to the big screen in Europe the U.S., and Australia. In the meantime if you would like to view a small film relating to this photo please click here.

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