Still Photographers – Showstoppers

Nikon D750, Sigma 24-105mm f/4 DG OS HSM Art, ISO 2200, ƒ/4, 1/80

When you go and experience the Theatre you are seeing the sequencing of a story into moments. Within each scene there is build to a crescendo and then all of these different scenes build to a showstopper most of the time.

A showstopper is a performance or segment of a theatrical production that induces a positive audience reaction strong enough to pause the production.

Nikon D4, NIKKOR 14-24mm ƒ/2.8G, ISO 12800, ƒ/2.8, 1/125

Now when you compare the two photos above the main difference is one is a theatre production and the other is real life happening in real time.

For a scene to be a real showstopper the actors must portray through their body language, expressions and tone of voice what would be in a real life situation.

Now what the theatre has in common with still photography is real life is more like video and moving constantly and with theatre and the still image the pause of the action allows time for the audience to absorb the moment.

Nikon D3, NIKKOR 85mm ƒ/1.4D, ISO 200, ƒ/1.4, 1/100

In life we have moments where we ponder and think. If a writer is describing this brief moment they may take four or five pages to describe all that weighs on the character as well as their thoughts and/or dreams. In real life you cannot hear or read those thoughts of people. However in real life the expressions of the person communicates often some of this which a writer only has text to convey.

Nikon D750, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/250

Actors must convey those four to five pages of text from a book into the play version of that book. The playwright may have notes to the side of the script to help the actor know what they are trying to communicate, but still what it boils down to is capturing in a moment the expression, body language and tone to communicate to the audience the character's thoughts.

Photojournalists/photographers are not actors in a play. If they are a photographer and they are shooting a scene that will be used in advertising to sell something or doing public relations for a corporation they often will assume the roll of the director. They will place the actors and create the scene to communicate all that they need to capture to move the audience to action.

If they are photojournalists they cannot take on the roll of director. They take on a different roll. The best way to describe that roll has been to be the fly on the wall. The photojournalists can fly around the room looking for a better perspective to see what is going on and then they capture moments as they happen to the later communicate to their audience what happened.

Nikon D5, Nikon 28-300mm ƒ/3.5-5.6G ED VR, ISO 9000, ƒ/5.3, 1/400

What does the novelist, playwright, director, actor, and photographer all have in common no matter their roll? Each is aware of what they are communicating and why. To move the audience you must know what you are trying to capture as a photographer.

Nikon D750, Nikon 28-300mm ƒ/3.5-5.6G ED VR, ISO 7200, ƒ/5.6, 1/500

If you are a photographer you are capturing moments for which you hope they make others pause. As a photojournalist I have learned to do my research before I show up. Listen a great deal with my ears and eyes. I clarify through questions to understand the situation so that I am doing all I can to be true to the moment and not to my preconceived thoughts. I look for those moments that will capture and hopefully be the showstopper that makes you pause and absorb the moment.

I want my pictures to worth the price of admission that my clients pay to see them. 

Your best clients don't need you

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, Sigma 2x EX DG APO Autofocus Teleconverter, ISO 640, f/5/6, 1/2000

Just the other night on the TV show Shark Tank Robert Herjavec talked about the worst thing for a startup is too much cash.

After he said this almost immediately Mark Cuban jumped in to agree. They talked about when you have a new idea you assume you know what you are doing and will throw millions into a bad idea assuming you are successful and have the cash to make it happen.

Winning football coaches are hard to get their attention, but a losing one is interested in changing their situation.

Best Clients

Your best clients are the ones that can afford your skills and pay you what you are worth. The reason they are your potentially best client is also why it is so hard to get their attention.

They are highly successful already. They are not in a crisis looking for someone to help turn their company around. Because they are so successful often this makes them in their minds experts on anything they do.

Nikon D4, 14-24mm, ISO 400, ƒ/16, 1/320, Nikon SB-900 high speed sync mode

How to get their attention

Be desirable. Just like Steve Jobs created the tablet before we even knew we wanted one we too must create work that makes people want to use us and have us on their team.

The very best way to get people to notice your skills is through a personal project. Go and do what you do best and then show it around. If your work is not just on par with everyone else, but truly different then you have a great chance of getting people's attention–even if they don't "NEED" you they will "WANT" you.

Be Authentic. If your only reason for treating someone nice is the hope of getting something from them, this is just the opposite of being authentic. Be genuinely interested in them and treat them with honor, dignity and respect.

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, Sigma 2x EX DG APO Autofocus Teleconverter, ISO 900, f/5/6, 1/2000

Be a friend. Really try and become good friends with your clients. Listen to them and support them. Congratulate them on their success.

Love the Nikon D4 & Sigma 120-300mm f/2.8 DG OS HSM for Football

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM w/ Sigma 2x, ISO 36204, ƒ/5.6, 1/2000

There are a few things that are extremely important technical aspects for a great sports photo:

• Well exposed
• In focus
• Sharp

The Nikon D4 and the Sigma 120-300mm ƒ/2.8 DG OS HSM with the Sigma 2x converter helps me to get the moments and technically being just right.

The Sigma 120-300mm f/2.8 DG OS HSM Lens is a telephoto zoom lens featuring a fast, constant f/2.8 maximum aperture. This lens is the first lens designed under Sigma's new Sports line of lenses, making it well-suited for fast-moving subjects such as wildlife, nature, aviation, racing, and other similar situations.

The built-in OS (Optical Stabilizer) system enables a reduction in the appearance of camera shake up to the equivalent of four stops, resulting in a long lens that can easily be used handheld and low-light conditions. The OS system is divided into two modes; one for general shooting applications, and one that is better suited for panning shots of moving subjects. The OS system can be further adjusted to suit your needs through the use of the USB Dock.

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM w/ Sigma 2x, ISO 36204, ƒ/5.6, 1/2000 [While this is a little noisy for my tastes, the dynamic range is pretty good and the important thing is it is in focus, sharp and well exposed]

The Nikon D4 camera features a 16.2Mp 36 x 23.9mm CMOS sensor with Nikon's FX-format and the EXPEED3 image processor. ISO sensitivity can now be extended as low as ISO 50 or as high as 204,800 with a standard range of 100-12,800 ISO. Additionally, 10 frames per second continuous shooting in FX-format for up to 200 shots ensures the decisive moment will not be missed.

D4's AF sensor utilizes 51 strategically placed AF points that are designed to capture subjects as you choose: by working together like a net to capture moving subjects or for pinpoint accuracy. Use a single AF point to home in on the exact place on your chosen subject. Each of the 51 AF points delivers fast and accurate AF detection to an impressive low light level of -2 EV (ISO 100, 20ºC) with every AF NIKKOR lens - expect to shoot more smoothly at night stadium assignments, poorly lit indoor arenas, cathedrals, theaters and any other low-lit venues.

D4 aligns its 15 cross-type sensors in the center to detect contrast for both vertical and horizontal lines with lenses f/5.6 or faster. The five central points and three points to the left and right of them in the middle line are compatible with f/8. Which is to say that with the Sigma 2x converter the lens is ƒ/5.6 and the D4 could still autofocus in a low light level of -2 EV at ISO 100. I had a lot more light than that in the Georgia Dome.

Here is a small slideshow of more images from the game with the specs in the lower left-hand corner for you.

Click here to see the photos in slide show larger.