Mark and Emily on Working Together

Mark and Emily have now been working together for nine months so we thought it was about time we wrote a blog piece about our experiences so far…

Question:  When (and why) did you start working together?

Up until February of this year I was working for Rolls-Royce Motor Cars in their Marketing Team based at their Global HQ in Goodwood. I’d built my career over a decade and had worked agency side in London for five years before relocating to the coast in 2013. Mark would be away for five weeks at a time on shoots and I’d be working and travelling too - we were like ships in the night! It was over Christmas that we decided to activate our own ‘Plan A’ which would bring our lives closer together - it required some bold decision making on my part but once we’d talked over all the options it felt like the right time to strike!

Mark: Emily is now a co-director of my business and is working full-time (+ lots of flexibility) in a Marketing and Business Development capacity. This covers all the behind the scenes activity; shoot logistics, public speaking, press interviews, sponsorship, research / creative development and financial administration. It means that whilst I'm away on shoots these elements can pro-actively be moved forward which is great as it frees up both my capacity to think about my own cinematography and gives me time back to read up on all the latest camera, lens and kit technology.

Question:  For you, how does ‘team work’ manifest itself in your day to day?

The two of us are now striving for the same common goal and our life has an renewed flexibility that allows us to spend quality time together when Mark is home between shoots - that change feels like a vital readjustment in order for the two of us to succeed in our married life together.

Mark: I've been striving solo with my career since 2000 and it's now a great feeling to have Emily on-board helping behind the scenes and supporting our shared aims for the future.

Question:  How do you separate work life and personal life?

It's hard! Simple things like having a different whatsapp thread for 'work' and 'personal' chat is one way to create some separation. When we’re in the same place, going to the pool for a swim or for a walk by the sea can help mark the beginning and / or end of a working day and that's also a chance to mentally 'down tools' and have some quality time together.

Mark: We're still getting to grips with this element - it's really difficult to strike that perfect balance! You both want to move your business forward and you also want to give your relationship all the time it needs to thrive and ultimately succeed. Sometimes you wish you could be in two places at once but….that’s not possible so, you have to find new ways to make things work both in the present and also on road ahead.

The strength of the team is each individual member. The strength of each member is the team.
— Phil Jackson

Sony PXW-FS7 mkI (2017) FOR SALE

Items Included Within This Sale:

* Sony PXW-FS7 MkI 
* XDCA extension
* 2 x 128 GB XQD cards
* 2 x 64 GB XQD cards
* XQD card reader
* Chrosziel 401-FS7 support plate
* Audio-Technica AT875R top mic with softie
* Peli case 1510 with dividers
* FS7 hand grip trigger
* Original boxes
* Raincover
* Metabones adaptors both standard and super speed
* E-EF mounts – optional (if you are going to use Canon EF lenses)

The above was all been brought brand new (total cost approx. £10,000.00 in summer 2017) so given the age and excellent condition of the kit I’m looking to sell all of the above for £8,000.00 (a VAT invoice will be provided with the sale).

The ideal documentary camera: The PXW-FS7 reflects years of intense conversations we’ve had with documentary shooters. In response, we completely redesigned the grip, improved the viewfinder, optimised the balance and refined the ergonomics. Of course, the FS7 also reflects Sony’s expertise in 4K and HD codecs, Super 35 sensors and memory recording. The result is the ideal camera for documentaries and the optimum tool for magazine shows, reality TV, unscripted TV and more.

The kit is located in West Sussex, so can either be picked up in person or sent in the post at cost. Please contact Emily directly if you would like to purchase this item or have any questions.  Further details about this camera can also be found here.

Mark | E:

Emily | T: +44 (0)7876 694477 | E:

Panda Award Wins for Blue Planet II and One Strange Rock

Congratulations to the Blue Planet II (BBC) and One Strange Rock (Nutopia) teams for a series of Wildscreen Panda Award wins!

Blue Planet II which received the most nominations went onto win in the following categories
* National Geographic Series Award
* Cinematography Award (‘One Ocean’ episode)
* Animal Behaviour Award (‘One Ocean’ episode)

National Geographic’s One Strange Rock tells the story of how life survives and thrives on planet Earth
* Innovation Award (‘Home’ episode)
* Editing Award (‘Gasp’ episode)
* Music Award (‘Gasp’ episode)

Mark filmed the Bajau fishermen in Indonesia for One Strange Rock’s ‘Escape’ episode and travelled to Costa Rica and Vancouver Island, Canada to film underwater with the Blue Planet II team during 2015, 2016 and 2017.

Huge congratulations to James Reed and Keo Films who were the winners of the prestigious ‘WWF Golden Panda Award’ for their film Rise of the Warrior Apes which charts the world’s largest troop of chimpanzees in Uganda and documents the political and social drama that unfolded there over two decades.

Mark Gains Freedive Qualification (open water up to 20m)

This programme provides you with the training and knowledge required to safely freedive with a buddy in open water environments to depths of 20 meters

The Freedive from Beginning to End (SSI Visualisation)

The Freediver rests face down in the water, breathing through the snorkel. Slow methodical movements and relaxation breathing prepares the mind and body for the calming effect of the dive reflex, which is starting to lower the heart rate. The Freediver begins the breathe-up, remembering to draw in and hold the last breath, removes the snorkel from the mouth and then pressurizes the middle ear. Tucking into the duck-dive position, the Freediver then moves down through the water column while regularly equalizing the airspaces in the body and mask. The finning style should be perfected. Kicking from the hip with straight fluid strokes the Freedive has now begun.

The diver should be perfectly weighted for the conditions and depth. This stage of the Freedive is the free fall. The finning has stopped as the Freediver moves down through the water column powered by the kinetic energy of the previous fin kicks. Blood shift is starting to take effect. The heart rate has slowed and the blood is shifting from the limbs to the core (Mammalian Dive Reflex). When the target depth is reached the bottom time begins. At this point, the diver should be relaxed and in total awe of the ocean’s depths.

We have explored the depths and our time underwater has taxed the oxygen in our body. The by-product of this process (CO2) is starting to stimulate the urge to breathe and we know it is time to surface and refresh our body and mind. We ascend much like we descend, deliberate finning from the hip making our way toward the surface. Upon reaching the surface we perform recovery breathing, we give the OK sign and continue to breath slow deep and deliberate as we reflect on our time underwater and now watch our buddy enjoy their dive into the deep.

This is what Freediving is all about — safe, exhilarating, addictive fun.

I love the meditative quality of freediving and the freedom and peace that you feel underwater. I’ve always felt ‘at home’ by the sea and in the water and it’s been fascinating to understand more about the theoretical side of this skill - especially learning more about our Mammalian Dive Reflex: a set of miraculous physiological responses that trigger as soon as you put your face in cold water. ‘The Waterside Ape’ is well worth a listen to hear more about our aquatic capabilities...
— Mark Sharman, Underwater Cameraman

Click here to listen to BBC Radio 4’s two-part documentaryThe Waterside Ape’ in which Sir David Attenborough considers whether new evidence will help a once widely ridiculed theory of human origins: the notion that some of evolution is explained if we accept that we grew up around lakes, rivers and seashores (rather than on the dry, savanna plains of Africa). Two episodes each 42 minutes long - first broadcast 14/09/2016.

 © Fotolia

© Fotolia

BBC One announces Blue Planet Live

Official BBC Media Centre Press Release (11 October 2018)

Across a week in March 2019, BBC One will celebrate marine life great and small, as we take the audience on a deep dive into the world’s oceans in Blue Planet Live. Broadcasting live from three different locations across the planet: East Coast, USA; the Bahamas; and Australia’s Great Barrier Reef.

Charlotte Moore, BBC Director of Content, says: “Blue Planet Live will thrill the millions of viewers who discovered so much from last year’s ground breaking series that shocked the nation. BBC One continues to lead that conversation as we travel live around the globe to witness first hand the magnificent marine life within our oceans and wake up to one of the biggest environmental crisis of our times.”

Tom McDonald, Head of Commissioning, Natural History and Specialist Factual, says: “Blue Planet Live promises to bring spectacular encounters with some of the most extraordinary marine life on the planet whilst also giving the BBC One audience a new appreciation of the wonders of and the challenges facing our oceans”

In 2017, the multi-award winning Blue Planet II wowed over over 62% of the UK population (37.6m people) with never seen before footage of life in our oceans, revealing its complexity and the extraordinary variety of creatures that inhabit them. Across four live shows, we’ll be on location with many of the exciting marine animals that breed and feed at this time of year, bringing the audience closer than ever before to different species of turtles, sharks, whales and much more. We’ll also be exploring the last oceanic frontier that is ‘The Deep’ live for the first time on television - the beating heart of our planet.

On the East Coast of America, Chris Packham will be at Woods Hole Oceanographic Institution in Massachusetts, meeting with scientists, experts and conservationists on the front line of new research. Here he will be uniquely positioned to delve into the ocean’s little explored ‘Twilight Zone’, to find out what secrets the deep holds for the future of our blue planet. He will also be assessing the health of the world’s whales at a time of year when many are breeding, and finding out why these gentle giants are such important bell weathers of ocean health. Deploying a helicopter will give him an eye in the sky over this wildlife spectacle, as whale mothers and babies come together.

Over 1,000 miles south, one small island in the Bahamas is known for its extraordinary shark gatherings. Here Steve Backshall will undertake a series of live missions to bring us closer to the ocean’s top predators which gather here in their masses to breed and feed.

On the other side of the world in the Pacific, dawn breaks over the Great Barrier Reef where Liz Bonnin is helping to monitor how new life is faring in this fragile place. Turtles and birds are nesting, and on the coral reef an underwater metropolis is alive with colourful and charming characters. This busy nursery provides plenty of drama that unfolds live before our presenter at this bustling location. Following her recent investigation into the damage plastic is having on the oceans, Liz will also be reporting on the challenges facing all marine life and the efforts being made to save our oceans.

Across the series we will be revisiting some of the key locations and animal characters from Blue Planet II as well as encountering new ones. At all three locations, we’ll uncover in real-time the health of our marine life, while wildlife films from across the world will give us a truly global picture.
— BBC Media Centre
BPL Dolphins.jpg

Swim England #LoveSwimming Campaign

To coincide with ‘Mental Health Awareness Week’ the swimming sector has released the next chapter in the #LoveSwimming campaign encouraging adults, in particular females, to escape the stresses of busy life by making time for a swim at their local pool. Mental health is becoming an increasingly talked about issue and according to the charity Mind, one in four British adults experience a mental health problem in any one year and 80% of mental illness is related to anxiety and depression.

‘Escape’ reflects the extremes of fast-paced modern life and the impact it can have on your mental health, in stark comparison to the unique environment offered by swimming. Swimming provides the ultimate block to external stimuli. The inability to see almost anything except the line at the bottom of the pool and hear nothing but your rhythmic breathing creates the ultimate moving meditation. The film features real women who have seen the positive effects of swimming in coping with their mental health issues.

Mark spent one day with the Swim England team at Marshall Street Leisure Centre in Soho, London filming underwater, topside and with his Phantom4Pro drone for the campaign. See @swimengland on Instagram for additional content.

Meditation and swimming

It was five years ago, as mindfulness started to creep onto the periphery of our collective consciousness that I began to wonder if from what people said about meditation and mindfulness that it described the mind-set I experienced after a swim. I was intrigued to find out if they were the same. Before exploring it, the phrases that I associated with mindfulness and meditation were ‘a clear head’ and ‘reduced stress’. These are things that I can remember starting to notice after swims when I was at secondary school, I’d often work out the answer to something or just feel much calmer. Mindfulness is commonly described as a simple form of mediation or mind training. For me, mindfulness is a way of learning to be aware and observe your thoughts (both good and bad) with the aim of not getting caught up and being non-judgemental about them (some days this is easier than others). It’s a chance to step back, learn more about yourself and how your mind works.

Similarities between swimming and mindfulness
As I become more practised, I discovered that the effects are similar to how I felt after a swim, and for me, it’s due to the two main similarities between both activities:

The type of meditation that I learned focuses on breathing and in swimming, breathing is absolutely key. I see this from a coaching point of view, the swimmer who isn’t exhaling properly often fatigues quickly or feels panicky.

Focus on what you’re currently doing
When you swim, there are no other distractions, a rarity in this digital age and we just focus on technique, or times, or the distance we’re swimming i.e. we’re focused on what we’re doing. I’ve found that mindfulness has helped my swimming and swimming has helped my mindfulness, which both in turn help me in everyday life.
— Lucy Lloyd-Roach, Swim England Coach

Mindfulness techniques to try next time you go swimming


  • On front crawl you can count and say out loud your breathing pattern into the water e.g. ‘One’, ‘two’, ‘three’. As you say it out loud, you’ll actually exhale into the water.

  • Swim 200m front crawl, breathing every three strokes for the first 50m, breathe every four strokes to the left for 50m, breathe every five strokes for 50m and finally breathe every four to the right for 50m. Aim for a smooth continual exhalation. If breathing every five strokes is too challenging, switch to breathing everything three strokes on the third 50m.

  • Slow it down – focus on long stretched arm and leg movements rather than making your swim a frantic race.


  • Focus on one key part of your technique, e.g. a strong kick together on breaststroke. As you swim, the brain will start to switch focus to this rather what else it’s been focused on within every day life.

Counting strokes

  • Try counting the number of strokes per length. What do you notice about your technique? Does it feel the same throughout the length? Does it change from the start to the end of your swim?

Marine Wildlife Summer Filming Trip, Pembrokeshire

  • One car full of kit: underwater FS7, tripod and topside set up, drone and slider.

  • Two dives with a colony of seals and one particularly pretty, playful one.

  • Three 04:30 starts to catch sunrise.

  • Four months talking about this trip….one day to plan logistics and prepare.

  • Five glorious boat trips.

  • Six beautiful west coast sunsets.

  • Seven Phantom4Pro explorations early in the morning and at last light.

  • Eight nights at Castle Ely Mill, Whitland.

  • Nine filming days – meeting scientists, making friends, moving gear around and laughing.

What a trip!

  • Zero Otters spotted (despite our best efforts).

  • 1,200 miles on the road.

  • 31,000 gorgeous puffins thriving on Skomer.

  • Thousands of Manx Shearwaters returning to Skomer under the cover of darkness.

  • Too many drinks enjoying sunset over the Atlantic Ocean at Druidstone.

Pea Soup 'Rocket' - Quick Dispersing Smoke Machine FOR SALE

I bought this smoke machine back in 2013 for some automotive work I was doing at the time. This is a great little machine for special effects - in fact, it was used at the 2012 London Olympics Opening Ceremony!  

Standard Features:
* Compact and robust
* Off power capability
* Water based, non-toxic smoke
* Quick dispersing smoke, ideal for special effects
* Controllable smoke, from a small wisp to a large plume
* Sale comes with a remote lead and a selection of smoke fluid aerosols

* Product code: PS21R
* Size (cm) (L x W x H):  36cm x 14cm x 20cm
* Weight: 6kg
* Heat exchanger wattage: 1,100W
* Power Supply: 230v, 50/60Hz
* Warm up time from cold: 5 mins
* Duration of aerosol at maximum output: 15 mins approx.
* Smoke output: 0 – 180 m3/min. (6,350 ft3/min.) 
* Operation off the mains power supply: Yes

 Image credit: © Mark Sharman (showing the 'Rocket' in use)

Image credit: © Mark Sharman (showing the 'Rocket' in use)

The ROCKET QD which looks and works in the same way as the ROCKET machines produces an even thicker, whiter smoke but which dissipates within a couple of minutes. This machine is mainly used for special effects for smoke that needs to disperse quickly. It's also ideal for photo shoots. By using it with a fan, a superb steam / CO2 blast effect can be created.

I am looking to sell this smoke machine for £350 plus VAT (a VAT invoice will be provided with the sale). The goods are located in West Sussex, so can either be picked up in person or sent in the post at cost. If posting, Quick Dispersing smoke fluid aerosols can be brought directly from Pea Soup (smoke machine specialists).

Please contact myself or Emily directly if you would like to purchase this item or have any questions. 

Best wishes, Mark

Mark |

Emily | T: +44 (0)7876 694477 |

Mark tells us more about his experience with the new Fujinon Lenses

Question: What shoot have you recently taken the Fujinon lenses on?

I’m just back from the Bahamas where I was working on a Shark Week shoot for Discovery. I was filming topside and drone from a boat for the duration, so camera and lens choice was key. My pair of E mount Fujinon lenses (MK18-55mm and MK50-135mm) were the natural choice together with my Sony FS7 as they are the perfect match especially for this type of job

Question: Tell us more about why the Fujinon lenses were a great fit for this shoot?

The production wanted to achieve a cinematic look and feel using a shallow depth of field throughout. So, shooting wide open at T2.9 I was able to achieve some very pleasing results with the actuality. We filmed a large portion of the footage into the night (under the boats minimal lighting) so, in this environment with these lenses I was still able to expose the contributors effectively

Question: What USPs specific to the Fujinon lenses do you find most impressive?

As well as ‘the look’ I wanted to achieve an additional consideration for the on-the-shoulder sync filming is the overall weight of the camera. So, with each lens weighing in at 0.9kg (which is incredibly light weight for such a lens) it makes for a much more comfortable set up; a hugely important factor when you’re working across the length and breadth of a boat for long hours, into the evening

Question: How did you utilise the full range of the two Fujinon lenses whilst on location?

The 18-55 is great for general sync shots and actuality; wide enough to get establishes and two shots and tight enough for pushing in for close ups and details. When it comes to shooting with another member of the camera team the 50-135 is perfect for close up reactions
Fuji Lenses.PNG

"Animals with Cameras" with Gordon Buchanan

Final Episode on BBC One: Thursday 15 February 8pm
Devil Rays in the Azores

In this three-part series, wildlife cameraman Gordon Buchanan collaborates with scientists in the field to attach cameras onto animals in the wild. On their journey, which takes them to all corners of the globe, they uncover unexpected findings about the lives of some of the planet's most captivating species.

 Presenter Gordon Buchanan and Devil Ray researcher Jorge Fontes

Presenter Gordon Buchanan and Devil Ray researcher Jorge Fontes

Mark spent one week filming for the Devil Ray sequence (Episode 3/3) on the Princess Alice Sea Bank in the Azores during August 2017.

 Gordon, Mark and the Crew in the Azores.

Gordon, Mark and the Crew in the Azores.

The team set out to discover why vast numbers of Devil Ray gather every summer near the Azores archipelago in the mid-Atlantic. The team successfully deployed specially designed cameras which towed behind the rays, these in turn witnessed wildlife spectacles seen for the first time including 'sun-bathing' ray at the surface reheating after a cold dive and unborn ray pups kicking inside their giant, four-meter-wide mothers; a sign that this congregation might be a breeding ground for these majestic ocean giants.

Devil Rays are fascinating creatures – they are some of the fastest and deepest divers in the ocean, and swim with such elegance. When they are not feeding, their cephalic fins are curled and point forward and down, giving the appearance of devil horns; hence their name.
— Mark Sharman, Cameraman
 Mark's topside camera set up in the Marina da Horta, on the island of Faial, Azores.  Panasonic Varicam LT,  Canon CN-7 17-120mm lens.

Mark's topside camera set up in the Marina da Horta, on the island of Faial, Azores.  Panasonic Varicam LT,  Canon CN-7 17-120mm lens.

Devil Rays are under threat from fishing, boat traffic, habitat decline and pollution and are currently listed as Endangered (EN) on the IUCN Red List. Although not usually targeted by fisheries, Devil Rays often become victims as bycatch. The good news is that Project AWARE have already made a positive impact to help protect Devil Rays.

 Legendary Azorean Captain, Norberto Serpa was the expedition leader.

Legendary Azorean Captain, Norberto Serpa was the expedition leader.

Other wildlife events captured within this three-part series include fascinating insights into penguins catching their prey 200 miles off the coast of Argentina and fur seals avoiding attacks from great white shark off Australia. Further details and clips are available at BBC online.


The Telegraph 'Culture' Review 4/5 Stars

The Express

Sunset Azores.jpg

Episodes 1, 2 and 3 are available on BBC iPlayer until February 2018.

The crew Mark worked with on the shoot:

Matthew Andrews, Field Director; Mark Roberts, Sound Recordist; Nuno Sá, Underwater Cameraman.

rEvo in The Egyptian Red Sea

Mark has just returned from Egypt where he spent a perfect week on his rEvo Rebreather diving in perfect conditions on some favourite wrecks including the SS Carnatic (1896), Kimon M (1978) and beautiful reefs such as the Sha’ab Abu Nuhas and Sha’ab El Erg.

 Sha’ab El Erg reef aka Dolphin House © Mark Sharman

Sha’ab El Erg reef aka Dolphin House © Mark Sharman

Whilst there Mark was trying out a new (analogue) camera set up using the Sony A7SII camera, Nauticam housing and an old school Nikonos 15mm manual underwater lens (one of the sharpest and finest specialist lenses ever made).