Sunday, April 02, 2017
Friday, March 31, 2017
Portraits from Nikon D100 in 2002
Nikon D100, Nikon 24-120mm ƒ/3.5-5.6, ISO 200, ƒ/8, 1/180 – 4 Alienbees B1600s |
I have been looking through some older photos. I started pulling all of our photos of our daughter for a project we are working on.
Most of the photos have been on CDs and DVDs and I am putting them onto a hard drive. I will be going through them and selecting our favorites and then putting them into categories like Birthdays and Holidays.
For these photos I found I also had a picture of the setup. Here is that photo for you to see how I setup the lights in our garage in my older house.
Here are a few of the different shots from that day back in October 31, 2002.
What I think is great about these photos is they were shot on my first digital DSLR camera. It was the Nikon D100.
The Nikon D100 had a 6.1 Effective Megapixel CCD for 3,008 x 2,000-pixel images. The D100 had about 7.5 stops of dynamic range as compared to today's cameras of about 12 to 14 stops.
Nikon D100 Key Specs | Nikon D5 Key Specs |
Announcement Date: 2002-07-26 6MP - APS-C CCD Sensor ISO 200 - 1600 Nikon F Mount 1.8″ Fixed Type Screen Optical (pentaprism) viewfinder 3 fps continuous shooting No Video Mode 780g. 144 x 116 x 81 mm |
Announcement Date: 2016-01-05 21MP - Full frame CMOS Sensor No Anti-aliasing (AA) filter ISO 100 - 3280000 Nikon F Mount 3.2″ Fixed Type Screen Optical (pentaprism) viewfinder 14.0 fps continuous shooting 3840 x 2160 video resolution 1415g. 160 x 158.5 x 92 mm Weather Sealed Body Replaced Nikon D4s |
Wednesday, March 29, 2017
How to handle client negotiations
Nikon D3, Nikon 24-120mm ƒ/3.5-5.6, ISO 400, ƒ/7.1, 1/200 – 4 Alienbees B1600 with 40º Parabolic reflectors |
A Slam Dunk in business is when you exceed the expectations of the client. I have made the mistake many times throughout my career of not doing a great job of managing those expectations.
We have all had the client call and also had the bills stacking up and due to our need of getting the job we rush to do whatever is necessary to just get the job. This is like going to the grocery store when you are hungry. You will make unnecessary purchases.
Nikon D3, Sigma 120-300 mm f/2.8 DG EX APO IF HSM, ISO 6400, ƒ/4, 1/1000 |
Know the client's expectations
When you have a brand new client managing expectations is so important. You need to not just listen and hear what they are saying, but I often ask for examples of what they are used to working with or if they have not worked with a photographer examples of what they would like that they have seen some where before.
Just this week I had two new clients, which I have never done work with before. In both cases I asked if they could send me some examples of what they are looking for so that we are on the same page.
I had one client send me work that would take little effort on my part to meet and exceed the quality of work they showed to me. However, the other client was talking to me about a photojournalistic coverage of where I was just shadowing someone, but then the photos they sent to me were well crafted lifestyle photos that would be used in a major advertising campaign.
The funny thing is that one client's budget was more like champaign budget the and other was a beer budget.
In the case where the budget was cheap the taste was luxury for sure. This is where your attitude and negotiation skills come in to help educate the client or at least price the job properly so as to be sure you can deliver the product to meet those expectations.
Nikon D3S, Nikon 24-120mm ƒ/3.5-5.6, ISO 800, ƒ/5.6, 1/250 |
Be careful to not jump to the very end of the process and write a contract that is a take it or leave it situation. Pace yourself.
I talked with my contact and let them know that the price range would be three to four times more than we had first been discussing if the images they showed was exactly what they were wanting. I also asked if they were showing a situation or more the quality that they are looking for in the photo.
Basically I don't need to spend a lot of time producing an estimate for a advertising shoot when they really just need a ground breaking photo.
I always do my best to start with how I am able and more than willing to meet their expectations and can make it happen for them. I let them know my concern is to always get them the most for their budget.
Nikon D4, Nikon 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.3, 1/500 |
Your creativity should not be limited to your work with the camera. You need to make the entire experience for your client so special that they love your work and tell others about you.
Your goal should be to surprise your client. One of the ways I started to surprise my clients was to use off camera flash. Just like here with this family photo.
Nikon D4, Nikon 28-300mm f/3.5-5.6G ED VR, ISO 1000, ƒ/5.6, 1/60 |
One way I continue to surprise my customers is quick turn around. I shot a client's son's wedding where before the Bride and Groom had left for the honeymoon the next day they had all the photos in an online gallery. As compared to most wedding photographers who take a month or two to get those photos to the bride and groom I had surprised them.
I have a good number of clients that are always changing things at the last moment. My response is always that is OK. I am here to make it happen for you. [Side Note: I do price to cover my need to be flexible]. Many times my clients make changes and I will do my best to move things to still work to get their project done. However, if I cannot make it happen for me to be there I line up a photographer/video person to give them the same quality as me or better.
Nikon D4, Nikon 14-24mm f/2.8G ED, ISO 10000, ƒ/10, 1/2000 |
Take care of your photographer colleagues
This just reminds me to be sure you are developing great friends in the industry. You want to give them work when you can and they should be doing the same for you over time.
If a job is not suited well for you take care of the client and find them the photographer who will be a good fit for the job. They often will come back to you for other jobs when you show to them you are looking out for their best interests over just yourself.
On The Same Page
When you and the client are working from the same page of notes, your ability to meet and exceed their expectations is something you can manage. However, if at any point you make assumptions and don't verify what their expectations are for a job you can often find yourself reshooting for the same underestimated budget and therefore losing money or just lose the customer over all.
Here is a little secret I discovered over time. When you ask these questions to the client to clarify the scope of a job it makes you look more like an expert and their trust goes up in you.
Monday, March 27, 2017
Changing the background with a simple gel for portraits
1:3 lighting ratio – Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/5.6, 1/200 |
Now before I add the gel I shoot this photo where the subject in on a white background. I will shoot with just the main light, the fill light and then put both of the lights on with no background light so that the students can see individually what each light is doing.
Main Light only |
Fill Light only |
Then I combine the two lights.
Main and Fill light together |
Main, Fill & Background Light |
This is the histogram without the background light. The furthest right on the histogram you can see that the value is good amount away from the far right.
This is the one where I have the background light set at 1-stop brighter than the fill. Notice here you can see most of the histogram is the same, but the far right is on the far right. This is showing how the white value is recorded. If you are not butting up on the right then there will be a little gray or often a tinge of blue when you print out the photo in the background.
Now when I add the gels like this red or the blue above we take a light reading of the background. We want the value to be 2–stops darker than the main light. So here the background is measuring ƒ/2.8.
One more thing you will notice is you need to move the person away from the background when using white for a background.
Now I demonstrate this also using a black background and to get the color to look like this you need to be sure the background is then 2–stops brighter than the main light. So if this red background was really black with the gel on it the reading would be then ƒ/11 which is 2–stops brighter than the ƒ/5.6 of the main light.
Thursday, March 23, 2017
Preserving Family History, One Memory at a Time
April Saul won first place in the Feature Picture Story category at the 1992 Pictures of the Year competition for her portrayal of the American family. She believed that family struggles were an important topic of journalism. "I hope what it [winning] means is that the everyday struggles of an American family are as valid in their own way as the struggles going on in Azerbajian or Sarajevo -- and that the private wars next door can be as compelling as the bloody, public ones thousands of miles away."
Family photographs can be considered cultural artifacts because they document the events that shape families' lives. Thus, the recording of family history becomes an important endeavor. In many cases, photographs are the only biographical material people leave behind after they die. But, the impact of family photo albums extends beyond merely recording history. Interpretation of family structures, relationships and self is possible through viewing family photographs.
Preserving Family History, One Memory at a Time
One of the biggest roles one can serve as a photographer is to help with the recording of their family history.
Now taking those pictures isn't enough. You need to share them with the family. You can do this many different ways. A traditional print that you give people is still a great way for them to enjoy what you have captured. They can put it on the museum wall that most homes have, which is also referred to as the front of the refrigerator.
This is my sister and I with our grandparents being photographed by my dad or mom at our home across from the church at the orphanage in Kinston, NC. |
For our daugther's last musical we bought a 1/2 page ad and used the photos I had made of her in high school plays.
For her yearbook we bought a 1/4 page ad and used photos from early to now that captured her personality.
We take pictures to celebrate our new babies and birthdays. Later at weddings we put together slide shows for rehearsal dinners and the receptions to show the young couple growing up.
We use photos at our anniversary parties to remember all we have celebrated as families through the years.
I had the privilege of recording a video of a cancer patient who was dying and wanted to capture in her own words thing she wanted to share with them before she passed on from this life to the next. We found photos to use as she talked about her children and grandchildren.
Tomorrow I am going to her funeral where for the first time the family will see the video. I believe it will help them celebrate their family member in a way that many never get to have at their funerals. The great thing is that all the friends that will show up that may have never met their family member will be introduced to her for the first time.
This is my uncle playing with his daughter [my cousin] that I took. |
This Subaru ad captures that special relationship between a father and daughter using images of the girl when she is young and now.
This is my daughter at age four in the front seat. |
Here we did a book when our oldest graduated from high school and was going off to college.
For some of us as we grow older we may start to suffer from memory loss. These photos will become for us what our memories used to do for us and help us know those around us and that they are our family.
Photographs can prove to be an invaluable source of information when resolving personal problems. Photographs are not subject to memory recollection, and a person's portrayal of events can be quite different from what appears in the photographs. The information is intimate because family photographs are collected from the inside compared with journalistic institutions, which usually operate as outsiders. Photo albums and home movies provide the richest sources of memories about the family. They offer an intimate look at personal relationships. Psychologists recently have begun using this display of intimacy to help resolve family conflicts.
Just imagine a couple getting close to divorce that pulls out the photos and then starts to remember all the good times and takes the time to work things out because of the memories that helped to build those bridges necessary to save the marriage.
Photos are powerful reminders of the family ties.
My great grandmother holding my baby sister and me. |
Photo taken by my grandfather a month or so before my sister married my brother-in-law. |
Labels:
family historian,
Photography
Wednesday, March 22, 2017
Storytelling Photo vs Point Photo
Fujifilm X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4.5, 1/100 |
This photo above is the only time on the stage during the entire production of the musical at Roswell High School where the surrey is on stage. This is the one scene that captures the build up of the whole show to where we see what Curly was singing from the beginning of the show promising Laurey how he would treat her on a date.
Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 5000, ƒ/5.6, 1/250 |
This is what I call a point shot verses the top photo which has much more information and is getting closer to helping to tell more of the story. You still need words with either photo to make it storytelling, but hopefully you are seeing the difference between the scene establishing shot and the closeup.
Fujifilm X-E2, Fuji XF 55-200mm, ISO 1250, ƒ/5, 1/100 |
Nikon D5, 28-300mm ƒ/3.5-5.6G ED VR, ISO 500, ƒ/4.5, 1/8000 |
Fujifilm X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4, 1/180 |
Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/200 |
"I don't need a lot of 'People Need The Lord' photos," commented Jeff Raymond to a photographer shooting photos with him in the Dominican Republic. "What do you mean?," commented the photographer.
Jeff went on to explain the photo style like the Afghan girl on the front of National Geographic by Steve McCurry. This photo has had such an impact that many people think this is the "BEST" way to shoot.
Give me more context is what Jeff coached the photographer to do in addition to a few portraits.
You see the photo of the boy here could have been shot anywhere in the world.
This is a frame from short movie clip. Notice how the kids in the foreground are close enough to give you a portrait, but including the background gives you more context. Here is the movie and you can see what conditions I was shooting.
Please understand this blog post is not saying Storytelling Photo is better than a Point Photo. What I am saying is you need both.
Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 100, ƒ/1.4, 1/2000 |
If you are going to be hired over and over you must be the photographer who gives the client more than they expected. This is why learning how to use a variety of lenses, different apertures and shutter speeds on an assignment will have clients raving about you.
Sure you can do OK shooting the "People Need The Lord" photo, but you are a one trick pony show.
Monday, March 20, 2017
What high school theatre can teach us about Volunteers
Fujifilm X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4.5, 1/100 |
Fujifilm X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4.8, 1/180 |
While there are many other ways I could talk about being a volunteer I thought this was a great way to talk about the roles of the volunteer.
If your organization is using volunteers it is imperative on you to define roles of volunteers so everyone knows what they are doing. Most organizations that regularly use volunteers usually have a volunteer coordinator.
Fujifilm X-E2, Fuji XF 55-200mm, ISO 1250, ƒ/5, 1/100 |
For the play to be successful each person needed to know their part/role.
Think of your organization like a musical to give you an idea how important it is for each person to know their part and for someone to be responsible for coordinating like the director of the show.
Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 32000, ƒ/5, 1/500 |
Now everyone in this musical except for the two teachers were all volunteers. The student actors could have quit at any time.
By the way very seldom does this not cross someone's mind as a volunteer. The main reason for the thought of quitting coming up is due to communication problems, which are often rooted in poor understanding of volunteers.
Fujifilm X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4.2, 1/140 |
- Developing ways to recognize and reward volunteer efforts
- Helping volunteers feel welcome and supported
- Developing and managing policies, procedures and standards for volunteers
- Looking after the volunteer database and records
- Planning and goal setting
- Rostering and organizing volunteers
- Delegating projects and tasks
- Managing any associated budgets and expenditure
- Communicating with people from diverse backgrounds
- Resolving conflict or managing the grievance process.
- Complaining about a volunteers work
- Ask people to volunteer and then when they show up not use them
- Make volunteers wait on you
- Don't thank your volunteers
Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 18000, ƒ/5, 1/500 |
TIME
The one thing that is the most valuable given by any and every volunteer is their TIME. No matter the person no one's time is more valuable than any other person.
The only time it seems that we are really aware of how valuable our time is seems to be when our time is running out on this earth. Don't be one of those people who doesn't think about how valuable your time and others is until your last days here. Each person's hour of time they donate is the same value as another person.
Now some who read this will disagree with me, but just like this play if one person didn't do their assigned part then it is noticed. An actor doesn't appear on stage at the right moment the other actors have to improv and the plot can be affected in the storyline.
Just think of the time you had a splinter and how annoying that is and affects the whole body. That is how big of a deal each person's time is to the organization. Something so small will be felt by the body.
Feelings Get Hurt
When people get upset working as a volunteer it can almost always be traced back to miscommunication. Often it is when the role wasn't well defined or just as often is when volunteer shows up and those who are coordinating their time dropped the ball.
Fujifilm X-E2, Fuji XF 55-200mm, ISO 2000, ƒ/5, 1/100 |
When you take the time to plan and organize your thoughts about using volunteers you can get everyone in step together.
When a plan comes together
I can tell you healthy organizations are the ones that treat everyone's time as precious as gold. When they do the word gets out. People see what is going on and want to join. You see way too many people are aware of volunteering and wasting their time or at least not being treated with the respect due when you are giving away your time.
When a theatre company consistently is putting on great performances it is due to someone coordinating all those volunteers and treating everyone's time a precious.
When respecting people's time you will benefit from more friends and deeper friendships. You see a good relationship is respecting one another's time.
Sunday, March 19, 2017
Which are you apart of? Group ƒ/64 or Group ƒ/1.4
Nikon D2X, Sigma 15-30mm, ISO 100, ƒ/13, 1/4 |
In 1930 Willard Van Dyke as well as Ansel Adams & Edward Weston formed the Group ƒ/64.
Group f/64 was a group founded by seven 20th-century San Francisco photographers who shared a common photographic style characterized by sharp-focused and carefully framed images seen through a particularly Western (U.S.) viewpoint. In part, they formed in opposition to the pictorialist photographic style that had dominated much of the early 20th century, but moreover they wanted to promote a new modernist aesthetic that was based on precisely exposed images of natural forms and found objects.
The term f/64 refers to a small aperture setting on a large format camera, which secures great depth of field, rendering a photograph evenly sharp from foreground to background. Such a small aperture sometimes implies a long exposure and therefore a selection of relatively slow moving or motionless subject matter, such as landscapes and still life, but in the typically bright California light this is less a factor in the subject matter chosen than the sheer size and clumsiness of the cameras, compared to the smaller cameras [35mm] increasingly used in action and reportage photography in the 1930s.
– Wkipedia
One of the magazines I have done work for through the years is Country Magazine. There requirements are to shoot at the highest depth-of-field for their photos. To do this on today's DSLR cameras you are typically shooting at ƒ/22. This would be equivalent to the ƒ/64 on a 8'"x10" that many in Group ƒ/64 used.
Nikon D2X, Nikon 24-120mm ƒ/3.5-5.6, ISO 100, ƒ/22, 1/2.5 |
The strength of shooting with sharpness all through the photograph is it puts the audience into the scene. This is where you are using composition and lighting to draw the audience into the photograph.
While your eye may go first to where the photographer directs you using light values and composition your eye will wonder afterwards around the scene just as if you were standing there yourself.
This style was in opposition to the pictorialist of the time.
Pictorialism is the name given to an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of "creating" an image rather than simply recording it. Typically, a pictorial photograph appears to lack a sharp focus (some more so than others), is printed in one or more colors other than black-and-white (ranging from warm brown to deep blue) and may have visible brush strokes or other manipulation of the surface. For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.
– Wikipedia
Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 140, ƒ/1.4, 1/100 |
Group ƒ/1.4 you may not have heard of, but I bet you have heard of BOKEH Photography.
In photography, BOKEH is the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens. Bokeh has been defined as "the way the lens renders out-of-focus points of light". Differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively. Bokeh occurs for parts of the scene that lie outside the depth of field. Photographers sometimes deliberately use a shallow focus technique to create images with prominent out-of-focus regions.
– Wikipedia
I would say that those who shoot primarily wide open aperture are more stylistically like the pictorialist of the last century and less like Group ƒ/64 which was about preserving everything in the scene.
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 500, ƒ/1.8, 1/320 |
I love that my camera lets me shoot from ƒ/1.4 to ƒ/57. The ƒ/57 is when I shoot with my Nikon 60mm Micro lens. Here is a shot I did that was widely published.
“ƒ/8 and be there,” was Alfred Eisenstaedt’s response to the question on how to be a successful photographer.
However the earliest record of the quote “ƒ/8 and be there” is attributed to Weegee who was a famous street photographer during the 1930’s, 40’s and beyond. It represents a philosophy to keep technical decisions simple and be where your vision takes you. The quote has been the mantra of photojournalists, travel photographers and even nature photographers.
This says you just need to anticipate and be technically ready to capture “the decisive moment.”
I say to be careful not to treat your interviews as just got microphone and recorder levels set and just hit record and I am done.
Don't Make Your Camera a Box Camera
Kodak made a box camera where you pushed the button and Kodak did the rest. You had no control over the Aperture, Shutter or even ISO.
Once you subscribe to shooting all your photos like the Group ƒ/64 or those doing BOKEH photography you have in essence taken that very expensive camera and turned it into a box camera.
Exercise for you to do
Take your camera and just one lens. Find a scene and then shoot the scene at every aperture you can on your camera. Now as you get to a wide open aperture you know that your depth-of-field becomes very shallow, so remember to change your focus so that the focal point is on something in the scene that creates interest. We call this technique selective focus.
Now just spend time doing this for several different situations. It might be able to do it with scenics rather than people at first, but then move on to people. What is really fun to do is to shoot where there are many people. A good example would be in a coffee shop.
Your challenge is not to make one good photo in each situation, but rather a great photo at each ƒ-stop.
When you master this technique you will discover you will be able to say something totally different about each situation. This will be the difference of you writing a very short sentence to creating a novel with just one frame.
Will you take up the challenge?
I believe the great photographers are the ones that know when to use what aperture to capture what they want to say about the subject.
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