Sometimes I can't give my work away. Guess what? That is a good thing.

Nikon D4, 14-24mm, ISO 5000, ƒ/2.8, 1/100

Couple of my close friends have just gotten engaged. While I do not promote myself as a wedding photographer I will do them for close friends.

I offered to both of them to shoot their weddings as a gift to them.

Anytime I have done this in the past most people think about it and get back to me. One of the first decisions the couple makes together are wedding plans.

Great News!

Nikon D4, 28-300mm, ISO 200, ƒ/8, 1/200

My first friend wrote back and said:

Stanley,  

This is beyond kind and generous of you to offer your services to us!! We have already been so blessed through this process by so much outpouring of peoples love and generosity.  

We want to find the perfect fit with the perfect style to capture the most important day of our lives. Currently we are looking at all our planning options and haven't gotten that far in the process. We will get back to you in a few weeks once we decide. 

Thank you again for this wonderful and generous offer of your talent and time!

I was pleased that they just didn't say yes right away. This means that they are not trusting their biggest event in their lives to just anyone.

Now how can I get all my clients to be more concerned about photography for their business as this couple is about their wedding?

Nikon D4, 14-24mm, ISO 2500, ƒ/5.6, 1/60

My second friend wrote and communicated a little more about their concerns:

Stanley, 

We are very grateful with the offer. We have just a question.  Have you ever shot a wedding?   My fiance has only seen you as a sports photographer, but I thought I’d ask. 

Maybe you can send us examples for her. 

Many photographers might get upset thinking they cannot even give away their services, but what I was pleased about is my friends as the ones that do know the difference between just having anyone document their big day. They are willing to pay verses free if they think there is someone better fit.

Nikon D3, 24-120mm, ISO 200, ƒ/14, 1/80

The key is being sure you talk with your clients projects like they are as important as a wedding. In some ways they are more important because business photos need to help give a Return On Investment [ROI]. You don't need wedding photos to get married. They are nice to have.

When people do not jump at free then you know they do care and you are not just a commodity. They will appreciate your talent more when they do say yes than those friends who even ask you to do it for free.

Same Nikkor 85mm ƒ/1.8G Lens on Nikon D750 and Fuji X-E2 Test

The other day I posted a comparison of the Fujifilm X-E2 with the FUJINON XF 18-55mm lens shooting the same test chart as compared to the Nikon D750 with the Nikkor 85mm ƒ/1.8G.

Some thought that this wasn't such a good test. So, based on the recommendation of the same lens on both cameras I am doing that here with a converter on the Fuji to hold the Nikkor lens.

The second complaint was I shot at too high of aperture introducing diffraction.  So this is shot at ƒ/5.6 rather than ƒ/16.

Nikon D750

Nikon D750, Nikkor 85mm ƒ/1.8, ISO 200, ƒ/5.6, 1/200 under studio strobes.

1:1 of the above photo

Fujifilm X-E2

Fujifilm X-E2, Nikkor 85mm ƒ/1.8, ISO 200, ƒ/5.6, 1/180 under studio strobes.

1:1 of the above photo

Conclusion

IMHO the antialiasing filter on the sensor of the Nikon D750 affects the performance and the Fujifilm X-E2 is sharper.  By the way the difference in the crops is due to the sensor size difference.

I do think the extra megapixels of the 24 MP Nikon when running the images full-frame may give it a hair advantage.

I predict there is a good chance in the future with the higher MP chips that the need of the antialiasing filter is not as needed for my work most of the time. I think more people will want their chips without that filter.

Just for fun this last photo

This is the Fuji cropped greater than 1:1 but gives you the same part of the chart that the D750 was at 1:1

The Holy Grail Camera

“If the photographer is interested in the people in front of his lens, and if he is compassionate, it’s already a lot. The instrument is not the camera but the photographer.” — Eve Arnold

There are many comments by many pro photographers throughout history reminding us that it is the six inches behind the eye that is more important than the six inches in front of it when making photos.

I wanted to be sure everyone understands that I not only believe this but spend most of my time thinking about what I have done, will do and am doing as compared to the time I think about my camera gear.

If you want to make better pictures for the most part you would do better investing in a class to learn something than spending that same money on more camera gear.

To make photos you must have a camera. When you buy your first camera the odds are very good that if you pursue this later as a profession that this will not be you last camera you buy.

Things to consider when buying a camera

Subject – Audience

These are the two things driving most every decision as to the best camera. As long as these stay singular you can find the perfect camera to own. However, the problem that typically happens is when you have:

Subject(s) – Audience(s)

The Holy Grail Camera that does it all is usually a compromise camera that will let a photographer get the images, but if they had the funds would most likely buy specialty cameras for some subjects or audiences.

Audience(s)

When we think of an audience there are two things we should focus on that impacts what gear we purchase. The people and the channel they will see those visuals.

If your client is selling high end vehicles like a Lamborghini they will be more interested in the finer details than the community seeing a photo of the fire in their local paper or online. You will be more likely to see extremely large prints of your images in dealerships on their walls where the customer could walk up to the print to examine it closely. This is when an extreme megapixel camera would be the best choice.

If you are shooting photos that you plan to put in a show in a museum or gallery then the size of those prints will demand a higher pixel as well and will be appreciated.

This is why there are 80 MP camera backs for medium format cameras. You can go even higher with the view cameras.

There are many bloggers on the other hand that are shooting all their photos with the smartphone. The pictures are good enough for their audience which might be absorbing most of the content on their smartphone.

Subject(s)

When you are shooting sports like soccer you must have really long glass due to the distance between the photographer and the action on the field. Having a camera like the Nikon 4s that shoots 11 frames a second and that has lenses like the Nikkor 600mm ƒ/4 is pretty much the standard for a sports action shooter.

Wedding photographers need to shoot often in low light and they need a camera with ISO higher than ISO 1600. They also will shoot with fast glass of ƒ/1.4 to ƒ/2.8 many times during ceremonies. Most wedding photographers are needing to cover 28mm – 200mm for most of their work. Occasionally having a few photos using some specialty glass just to offer something different.

Portrait photographers are often shooting with cameras with high megapixels for the same reason the photographer shooting a Lamborghini needs it–large prints.

Street shooters tend to want a small camera that will make them look more like a tourist than a professional photographer to be able to blend in and not draw attention to themselves.

Conclusion

If you are one of those people trying to tell everyone why you own the "BEST" camera ever–please know you only show your ignorance when you open your mouth. I see these people on almost every camera forum trying to argue why they know it all and everyone should listen to them and their wisdom.

If you are shooting one type of subject then you can easily find out what most photographers covering this subject are using and why they choose those cameras and lenses.

If you are shooting a wide variety of images for many different outlets you most likely will find a camera that does a pretty good covering the bases. Many will find they need to either rent or buy gear for some of their niche's.

Most of all we need to go back to where I started this blog that the photographer's knowledge will let them do more with a simple box camera than a $45,000 camera will do in a novice's hands.

You may hear that many people say invest in good glass more than the camera–I say invest in yourself more than the gear and you will be the better for it.

IMHO–most cameras today are so good that in the right hands most any camera could work.

What I own and use

NPPA Annual Meeting at their new location the Grady College of Journalism

Mark E. Johnson is on the faculty of the Henry W. Grady College of Journalism and Mass Communication at the University of Georgia teaching photojournalism and multimedia journalism courses. He talks to the board about some of the expenses associated with the offices now being in the school. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.6 1/80]

This is the annual board meeting for the National Press Photographers Association at Grady College of Journalism with University of Georgia in Athens, Georgia.

The NPPA moved the organization head quarters this month to the Grady College of Journalism. The move will cut their overhead costs due to the school giving them office space with minimal expenses like phone and internet connections.

NPPA like all photography associations has been loosing members due to the industry staff jobs going away in so many places around the globe.

Mickey H. Osterreicher, NPPA’s general counsel tells the board how last year they helped a member in a law suit where his rights were violate and helped with a $200,000 settlement. The person donated $3,000 to NPPA legal fund. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/4 1/250]

Community coordination has shaped and advanced America since its birth and has historically set America apart from many other nations. NGOs and other associations have formed many places around the world, but it has been a foundation in American society.

Associations are organized for all types of purposes, but there are some recurring benefits they typically provide their members, including:

• Education/professional development
• Information, research, statistics
• Standards, codes of ethics, certification
• A forum to discuss common problems and solutions
• Opportunities to further a specific mission, including volunteering and community service
• Providing a community of interest.

Mark E. Johnson helps answer the boards questions on the expenses NPPA will still be responsible for at the Grady School of Journalism. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/9 1/15]

With publications like newspapers and magazines going out of business in record numbers over the past five to ten years the community has shrunk for working staff photographers.

I am sure I shocked many on the board when I decided to attend their open board meeting and just sit and observe. It is like watching sausage being made. Just as families around America have had conversations around their kitchen tables about cutting back when a spouse lost a job, so to the NPPA board was evaluating all items line by line on the budget.

The board voting on parts of the 2015 Annual Budget. It was like watching sausage being made. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.2 1/110]

As I drove to Athens I have to admit I have been quite ambivalent about what I get for my membership. After sitting and listening to the board focus on the budget and then on my drive home I realized that one of the core reasons those in the industry should support an association in these times is the same reason we started them years ago. One thing continues to stand out as one of the most important reasons is "a forum to discuss common problems and solutions."

Look through the bullet list yourself and see if it makes sense to let an association like NPPA die or join and support the organization. What would fill the vacuum for the role of the association in our profession?

I think the largest struggle right now for the industry is really a lack of clear understanding for the direction we should be taking. What specific mission do we now move towards?

I don't think anyone has yet to find a crystal ball that gives insight to what we will be doing in five or ten years from now. I think we are starting for the first time in a very long time to realize what are the core things we do that isn't related to gear. We have defined so much of our industry by gear and now with the changes in that happening daily we are looking for what are the core skills we still have from the beginning of the profession that we will continue most likely.

Time for putting our heads together I think rather than doing this alone. Have you joined NPPA?

If not go here to join https://nppa.org/join-nppa

Then get involved and be part of the discussion.

Photo Story on Russian Pastor by Don Rutledge

© Don Rutledge

I went back today looking at the coverage that Don Rutledge did in Russia in the 1980s.  Don more than anyone I ever knew could tap into the subconscious of the audience through symbolism.

I love the photo of one of the pastors in Russia with the kids. What really makes the photo even more is the artwork of "The Last Supper" by Leonardo da Vinci on the wall behind them.

I remember sitting with Don as he projected each of those Kodachrome slides on the wall. Take a look at these of a pastor and his family that he followed for a day.

Click here to see the photos larger.

The Berlin Wall was still up at the time and most Americans views of the Russians was based on our perceptions than on reality. Don wanted to show how much we have in common with the people.

Once the audience can relate to the subject then the message can come through. You can see how Don starts by first establishing the father's role as a pastor. Then he shows the role of the mother cooking and taking care of the family, just as many women do here in our country.

© Don Rutledge

I was fascinated how Don talked about just showing the teenagers room he was showing how this would look like many of the teenagers here in the states rooms might look.

© Don Rutledge

Here he shows how while dad is working on his sermon his son is working on his homework.

© Don Rutledge

Here we see the family being just as curious as anyone would be as to what is inside the box.

© Don Rutledge

Here the kids are playing follow the leader. What is important to me was hearing how excited Don was about how similar the families were to Americans. Don's excitement was truly childlike.

© Don Rutledge

I was feeling the love that a father has for his family as the photos continued. Here the children play tag with their dad.

© Don Rutledge

Here we see the children conniving and being mischievous in plotting something against their dad.

Lesson from Don Rutledge

• Give your subjects honor, dignity and respect
• Look for visuals that can be included in the frame to drive home a message
• Leave things out of the frame that are distracting
• Keep a child's perspective and excitement
• Look for visuals that cross over cultural and language barriers to connect the subject and audience
• Know your gear well enough to capture moments as they happen with natural light
• Be genuine and authentic with your subjects so that they give you permission to capture them in any setting because of the trust you have established and honor

Nikon D750 vs Fujifilm X-E2 on test chart

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 200, ƒ/16, 1/180

 I posted a blog earlier today showing my observations with my moon shots comparing the Nikon D750 to the Fujifilm X-E2. I received many comments that this was not a good test. Well it really wasn't meant to be a test.

This here is a test of the difference between the Nikon D750 and the Fujifilm X-E2 shooting a test image under studio strobes at the same ISO, aperture and extremely close shutter speeds.

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 200, ƒ/16, 1/180

You can see the overall image of the test image and then I came in closer on both cameras. Mind you that the 24 megapixel is a larger file and more information than the 16 megapixel of the other camera.

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 200, ƒ/16, 1/180

 I will let you come to your own conclusions between the two cameras. The Fujifilm X-E2 was shooting at 83mm and the Nikon D750 at 85mm. Again some minor difference.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/16, 1/200

 I will let the photos speak for themselves on this blog post.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/16, 1/200

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/16, 1/200

Nikon D750 vs Fujifilm X-E2 on shooting the moon

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/9, 1/200

I was not planning on comparing the two cameras, but ended up noticing quite a difference between the two cameras when making some photos of the moon.

Fujifilm X-E2, FUJINON XF 55-200mm, ISO 800, ƒ/8, 1/4000

While editing the two photos I noticed a sharpness in the 16 megapixel Fuji image that wasn't there in the Nikon 24 megapixel. I would expect the Nikon D750 to be sharper.

Nikon D750, ISO 4000, ƒ/5.6, 1/4000

I just put this photo here shot at 1/4000 to quiet those who think the softness of the D750 was from camera movement. It is the filter.

Until recently virtually all digital cameras had an anti-aliasing or low-pass filter over the sensor. This filter had the effect of softening the image very slightly to reduce the likelihood of moiré patterning happening in parts of the image with a very fine repeating pattern that is close to the resolution limit of the sensor.

There is no filter on the Fuji and there is one on the Nikon D750.

The benefit of leaving off the filter is that the camera is able to record a little more detail and produce slightly sharper images, with less need for post-capture sharpening.

Nikon just introduced at the Consumer Electronics Show this week there new Nikon D5500 which tt's high-resolution sensor has no optical low-pass filter. It joins the Nikon D810 which also doesn't have the anti-aliasing or low-pass filter over the sensor.

I think we may be experiencing the change in the industry. Since the introduction of the Nikon D800E we have started to see more cameras being introduced without an anti-aliasing, or low-pass, filter over the sensor. This is because the pixel density of sensors has become so high that there are fewer and fewer patterns that we are likely to photograph that have a high enough frequency to cause moiré patterning.

2015 time for New Beginnings

Fujifilm X-E2, 18-55mm, ISO 500, ƒ/14, 1/500 

It is the beginning to a new year and with that we need to backup for the big perspective on the year ahead of us.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma 2X, ISO 12800, ƒ/5.6, 1/160

Aeneas Demetrius Williams is a former American football cornerback and free safety, who played with the Arizona Cardinals and St. Louis Rams of the National Football League (NFL). He was the featured speaker at the FCA Chick-fil-A Peach Bowl Breakfast — at Atlanta Marriott Marquis.

Aeneas said that his strength is the ability to forget about a bad play and focus on what is going on right now. He can move on where many players go down a spiral of bad plays because their head is on what they screwed up and not on what they are needing to do.

That is a great message for all of us in the beginning of a New Year. This is a time for a new beginning and the reality is we should always be looking at what we can do rather than what we could have done.

Nikon D4, 14-24mm, ISO 100, ƒ/8, 1/500

We are constantly faced with a choice of two paths or more. Which path will you take in the year ahead?

Nikon D4, 28-300mm, ISO 800, ƒ/9, 1.3 sec

Where do you want to go?

Take a moment and look around you and be realistic. What are some places where you see the potential for growth that the community needs–not just what you want to do. Bounce these ideas off a few people for their perspective and listen.

What is missing in the portfolio?

Once you have an idea of some things you want to pursue, take a moment and review your portfolio. Does your portfolio show you have done what you want to propose to clients and potential customers?

Find the personal project

Take the time to create a portfolio of work and specifically show what you can do if given the chance. Very few clients if any will give you the opportunity to shoot something for them that you haven't done before. Go and create a package of work that shows when you are given complete creative control this is what you can produce.

A couple of things happen once you have created a package that will be in your portfolio that shows all you can do. First you may just get the attentions of people to want you to do this for them. Since you have done this before they may give you more creative control since they haven't managed a project like this before.

Create a plan and timeline

Once you have an idea then execute the idea. You need to get that special project on the calendar now and not in a couple of months or you are losing time to show clients. Find a way that you can execute your creative concept easily. Try and minimize all the variables that you will not have control over.

You may want to shoot something in your hometown or even backyard as opposed to traveling around the world.

Make 2015 a Remarkable Year!

This time next year you want to be able to say that you did something new and different this year to stretch and grow. 

Nikon D750 best portrait lens

Click on photo to see larger

Choosing the right lens for doing a portrait can greatly impact your subject and how they look. Above I shot these photos filling the frame so that the head size was pretty close to the same size in the frame.

I shot all these photos on the Nikon D750 using three lenses: 1) AF-S NIKKOR 14-24mm f/2.8G ED; 2) AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR; & Nikon 85mm ƒ/1.8G.I believe both the wide angle and the extreme telephoto lens does affect how a person's face really appears.

The extreme wide-angle makes a person's nose bigger because it is closer to the camera and the ears are much further. As you go to a longer focal length the distance between the nose and ears compresses.




My favorite lens for portraits with the full frame DSLR is the Nikon 85mm ƒ/1.8G.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 250, ƒ/1.8, 1/100

Chick-fil-A Peach Bowl highlights

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/2000

These are just some of the photos from my day coverage of the Chick-fil-A Peach Bowl held at the Georgia World Congress Center and the Georgia Dome.

It starts early in the morning covering the FanZone prior to the game. This is where fans can have fun at different exhibits.

Nikon D4, 14-24mm, ISO 12800, ƒ/5.6, 1/250

The fans also get to see their teams and coaches up close during the team walks.

Nikon D4, 14-24mm, ISO 12800, ƒ/5.6, 1/100

Bowls are not just about the game. This is where fans travel a long way and the cities that host these big events do everything they can to welcome them and make them feel like this was a remarkable experience.

It is not important just to show something happened, it is important to show how emotional connections were made with the city and the fans.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/800

One of the most difficult things to cover for a sports photographer is a blow out or maybe even just a low scoring game comes close.

Why is this so hard, well the offense looks often like they are the only ones on the field. The defense isn't up on the offense giving pressure, which shows competition and creates an excitement with the photos.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1000

I shot a good ten photos before the defense ever caught up with the offense in this play. TCU's wide receiver #7 Kolby Listenbee was wide open and then had a lot a room between him and Ole Miss before they finally stopped him.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1600

Now I can tell after editing through some 2000+ images from the day that TCU's defense was always moving toward the ball as you can see in their pursuit of Ole Miss' quarterback here. Compare this to Ole Miss player just watching the play in the photo below.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1600

I took the time to move around to the press box to get the different angles of the game and halftime.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 4000, ƒ/2.8, 1/2000

Capturing the branding of the Chick-fil-A Peach Bowl helped to quickly distinguish this photo from a normal game and other games.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [550mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1250

The one thing I really like about the game is the logo is sewn onto the uniforms so even when you shoot a really tight photo you capture the Bowl Game distinction.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [360mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/500

I can tell you that on paper I thought this was going to be one of the better and closer games that the Chick-fil-A Peach Bowl has held. Last year's matchup between Duke and Texas A&M to me on paper was going to be the blow out. That game was the 4th best rated game for the entire season.

Ole Miss Rebels defense was ranked first in the nation with its average of only 13.8 points allowed. The TCU Horned Frogs fielded the nation's most improved offense in total yards and scoring this season, and set new school records points, passing yards and total offense. How could this not be a great game?

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/800

The Horned Frogs delivered one of the most telling statements of 2014 bowl season by demolishing No. 9 Ole Miss 42-3 in the Georgia Dome. They did it against one of the toughest defenses in the country, and they silenced critics who questioned TCU’s spot among college football’s premier programs.

Technical

I have been using the Sigma 1.4X and 2X converters.

I do know that not using this will render even sharper photos. Sigma has new converters, but they have yet to make it to the camera distributors. I hope to upgrade my converter and possibly get better results.

The new version only works on a couple lenses and specifically designed for the Sigma 120-300mm ƒ/2.8 DG OS HSM S. Stay tuned for when I finally have one and can test this.