Photographers be like farmers in the Springtime–Prepare the fields

Fuji X-E2, Fuji XF 18-55mm, ISO 1000, ƒ/4.5, 1/500

This is a time you can drive around your neighborhood and see a major difference in lawn care. This photo shows just the difference between spreading Weed & Feed with watering can make in the appearance of your lawn.

It is only the farmer who faithfully plants seeds in the Spring, who reaps a harvest in the Autumn.

B. C. Forbes

Fuji X-E2, Fuji XF 18-55mm, ISO 2500, ƒ/4.5, 1/500

A few weeks ago I decided to really tackle the problem with bare spots on my yard. Well actually they are bigger than spots. There is a lot of shade so this will always be an area that needs more work than the sunny sections of the yard.

I went to HomeDepot and bought Powermate 10 in. 43 cc 2-Cycle Gas Cultivator to help turn the soil with the Rebel tall fescue, pelletized limestone, & Vigoro 15m weed & feed.

Just two weeks later and you can see in these photos the results of a much greener yard.

Fuji X-E2, Fuji XF 18-55mm, ISO 3200, ƒ/4.5, 1/500

Now here you can see the areas I didn't cultivate did not produce as much grass. Some grass seed and fertilizer fell in those areas but the difference was in the turning the soil about 2" – 3" that buried the seeds and helped them grow.

With just celebrating Easter at our church I was reminded of the Parable of the Sower that Jesus told.

Matthew 13: 3-9
“A farmer went out to sow his seed. As he was scattering the seed, some fell along the path, and the birds came and ate it up. Some fell on rocky places, where it did not have much soil. It sprang up quickly, because the soil was shallow. But when the sun came up, the plants were scorched, and they withered because they had no root. Other seed fell among thorns, which grew up and choked the plants. Still other seed fell on good soil, where it produced a crop—a hundred, sixty or thirty times what was sown. Whoever has ears, let them hear.”

Photographer Tips:

You reap what you sow. We have all heard this before, but what can a photographer learn from this? You need to go back to your present clients and reconnect with them. You need to give them more information about you and what new things you are doing. This is like fertilizing your yard.

Now some ground is hard as rock. A farmer uses a tiller to break up ground that has not been farmed or has become extremely hard. A farmer uses a cultivator for loosening the soil in an existing planting area, weeding the area during the growing season and mixing compost into the soil.

You may have to do a lot a leg work and go and really beat the pavement finding those new clients. You may need to have some good examples to leave with them either through your website, e-newsletter, or printed material. You may need to get some friends that work with those potential clients to help introduce you and break the ice for you.

Competition:

Even Jesus knew that your competition will try and sabotage all your good work. He told a parable about it as well. It follows the Parable of the Sower:

Matthew 13:24-30
Jesus told them another parable: “The kingdom of heaven is like a man who sowed good seed in his field. But while everyone was sleeping, his enemy came and sowed weeds among the wheat, and went away. When the wheat sprouted and formed heads, then the weeds also appeared. 

“The owner’s servants came to him and said, ‘Sir, didn’t you sow good seed in your field? Where then did the weeds come from?’ 

“‘An enemy did this,’ he replied. 

“The servants asked him, ‘Do you want us to go and pull them up?’ 

“‘No,’ he answered, ‘because while you are pulling the weeds, you may uproot the wheat with them. Let both grow together until the harvest. At that time I will tell the harvesters: First collect the weeds and tie them in bundles to be burned; then gather the wheat and bring it into my barn.’”

They didn't have weed & feed in those days. We as photographers may not have the weed control to put out either, but the lesson is clear others will try and attack you at times. Be careful at trying to fix this–you could end up damaging the good seed you did plant.

The message is clear to have a big harvest requires you to work the field. You need to get that tiller and break up the really hard ground. You need to use the cultivator to mix the seed and fertilizer. You will need to then water the field as well if you expect to see a crop that will be worthy of harvesting.

You can't reap what you do not sow.

Capturing a "Moment" helps to build a brand

Nikon D3S, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 560, ƒ/5.3, 1/80

I was covering a meeting where Dan Cathy the president of Chick-fil-A was talking about Daddy Daughter Date Night events. He then put this image of mine up on the screen to talk about how every daughter would love to have her daddy looking at her like this and giving her this type of attention.

This is one of those really rare moments when people are talking about the work I produced and I am getting to hear it.

Nikon D3S, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 6400, ƒ/2.8, 1/320

This is the actual photo here. I am guessing that the photo on that stage was 45' x 30' big. I was really impressed that the Nikon D3s ISO 6400 image looked that great projected that size.

The client was comfortable enough to use the photo by the president of the company to talk about one of the most important things their brand does–emotional connections.

Nikon D3S, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 3200, ƒ3.8, 1/25–Off camera fill-flash using the Nikon SB-900.  The Flash is on the Pocketwizard TT5 and being triggered by the Mini TT1 on the Camera with the AC3 to control the output of the flash. 

My job is to look for those moments where the emotional connection happens and be sure the brand is part of those moments. Here I was capturing a Father & Son Camp Out at a local Chick-fil-A. Chick-fil-A is creating events to help bring families closer together. What better way to capture these moments than with a photograph.

Remember while you need to technically have a good quality image you also need a "moment."

Great Photography Implores Yin-Yang of ...

Photography requires one to understand yin-yang.

Wikipedia definition of Yin-Yang

In Chinese philosophy, yin and yang (also, yin-yang or yin yang) describes how apparently opposite or contrary forces are actually complementary, interconnected, and interdependent in the natural world, and how they give rise to each other as they interrelate to one another. Many tangible dualities (such as light and dark, fire and water, and male and female) are thought of as physical manifestations of the duality of yin and yang.

Yin and yang can be thought of as complementary (rather than opposing) forces that interact to form a dynamic system in which the whole is greater than the assembled parts. Everything has both yin and yang aspects, (for instance shadow cannot exist without light). Either of the two major aspects may manifest more strongly in a particular object, depending on the criterion of the observation. The yin yang shows a balance between two opposites with a little bit in each.

Here are some Yin-Yang dualities in photography that I deal with constantly and this list isn't comprehensive by any means.

Nikon D3, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 500, ƒ/2.8, 1/20, Nikon SB-900 off camera triggered with Pocketwizard TT1 and TT5 on the flash

Shutter-Speed/Aperture–You cannot change one without the other being affected. This was more true in the days of film when you were stuck with one ISO until you changed the film.

ISO/Noise–As you change your ISO you are affecting the image quality. Today's cameras high ISO capabilities are making this less noticeable, but it still exists.

Flash/Authentic Moments–When I shoot with a flash I announce myself and it is much more difficult to blend into a room.

Nikon D3S, Nikon 24-120mm ƒ/3.5-5.6, ISO 12800, ƒ/5.6, 1/200

Mixed Lighting–Situations where you have say window light and fluorescent lights in a room competing as the subject moves closer or further from the window the constant fighting of color temperature is ongoing.

Gear/Photographer–This is the biggest issue I have on a daily basis when it comes to the Yin-Yang. There is an ongoing struggle between the science and philosophy of the image. It is like a struggle between science/technology and the liberal arts where you need both to make the very best images.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/2.8, 1/160

Lifelong Learning

What I love the most about photography and yet continues to frustrate me just as well is I have rarely looked at my work and felt like the images I made couldn't be improved upon.

Great photos I believe are the results of years of understanding and knowledge of the gear to make it perform at the peak of it's capabilities along with years of understanding of the subject. You are able to anticipate and execute an incredible image because you are then fully ready for the "moment."

Sooner or later I have had gear fail me because I pushed it beyond it's capabilities. Photographers complain and the manufacturers listen and create newer gear that exceeds the previous gears abilities.

I have to admit while photography can frustrate me it pales to the learning curve of mankind and my ability to anticipate what people will do.

While I know today's cameras will do even more than their predecessors I don't think we ever fully maximized all that the simple box camera will do.

Nikon Coolpix P7000, ISO 100, ƒ/2.8, 1/1100

Two topics that will result in better images

I think we need to first spend more time getting to know our subject of the images. We need to become experts on our subjects so we truly can start to capture moments that help people connect through our images to those subjects in ways they did not see before.

Second we need to constantly be learning all that our camera gear will do and what we can do to capture those "moments" with our subjects that help clear up the image so that the "moment" really "clicks" with the audience.

Forming a Photographic Style

Nikon D4, AF NIKKOR 85mm f/1.4D, ISO 200, ƒ/1.4, 1/80

My friends and I were teaching a class and we had one student that we all were trying to figure out why they were taking the class. He found each of us and wanted to tell us all he knew about photography.

One of us mentioned how it takes 10,000 hours to master something. Malcom Gladwell talks about this in his book and I have written about it as well on the blog. Here is that link.

The student then went on to say then I am a master then. One is a master when others acknowledge it about you and not the other way around.

My mentor Don Rutledge was trying to form a style and talks about how one guy told him about his style. Listen to Don talk about it here:


Now if you want to hear the entire talk by Don then here it is for you.

[Here is a link to many other recordings of Don Rutledge that I have]

Why is it so hard to establish one's style? I think the hardest thing for most pros is the lack of feedback.

Once you were a hobbyist your friends would compliment your work and tell you how good you are and you should be a photographer. Once however you become a pro, they no longer give you that feedback. Why? You see now you are expected to make great photos.

I think professional photographers need to seek out and pay for feedback.

The other day my friend Will Flora did an experiment with some workers. He is a training director for  a company. He got some front line workers to come to a bowling alley where he paid them to bowl for the day.

There was a catch. He had covered all the monitors and put up a curtain so they could not see how many pins they took down or see their scores. After a while the workers wanted to quit and go home.
They were being paid to bowl for the day and they wanted to quit.

As they were taking off their shoes, Will removed the curtain and uncovered the monitors. A guy asked if they could still bowl without the stuff in the way. He said of course. They then started to bowl and have fun. You see people enjoy work when they understand their part–especially when they can make a game of it.

Nikon Coolpix P7000, ISO 100, ƒ/7.1, 1/1000

While it is important that you get paid as a professional photographer and paid a good wage for your creative talents we still need and want feedback. How are we doing?

Here is a to do list for you:

1. Find Mentor/Coach to help you discover your style
2. Be sure the style you are pursuing is the core of who you are and want to become
3. If you like a photo and you know the photographer take time and tell them that you like it and why. You gotta be willing to give feedback if you want to receive it.

Fuji X-E2, FUJINON XF 55-200mm, ISO 6400, ƒ/8, 1/400

Don't be the photographer that is a legend in their own mind.

Telephoto or Wide-angle Lens?

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 6400, ƒ/6.3, 1/100

Should you use a Telephoto lens or a Wide-Angle lens? Well that all depends. 

Here I walked across the street and up a small hill and shot back at all the First 100 Campers sleeping over the night in the parking lot for the Grand Opening of Chick-fil-A at Northeast 8th Street in Bellevue, Washington. The First 100 get free Chick-fil-A for a year.

I think I did a great job of showing the campers in front of the store.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 9000, ƒ/8, 1/100

Here I walked a lot closer and shot it with the 14-24mm at 14mm to really emphasize all the tents in the parking lot.

Which photo is better?

Well that all depends on what you are trying to say. The real reason I am covering this story is that Chick-fil-A is just now with this Grand Opening getting into the Seattle, Washington market.

I think the first photo shows the city of Bellevue and even the corporate offices of Microsoft just next door to Chick-fil-A.  The lower photo could almost be shot anywhere because the emphasis is more about what is the same at the grand openings–tents in parking lots.

Now if I were to only need one photo I would shoot the top photo, but I am a seasoned journalist and know to cover it completely, so I shoot them all and even more angles. This is critical when you are telling the story. This is especially true in multimedia where you may show both with other photos in a series. You may talk about the campers and how this is in the city of Bellevue.

The question is not just which is best but why not shoot both and then decide later as you figure out what you want to say. Maybe you will need both.

Sleepless in Seattle

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 160, ƒ/8, 1/125

When you go to Seattle be sure to go to Kerry Park [211 W Highland Dr, 98119] at sunset to get some great photos. I arrived early and shot the photo above with my Nikon D750.

Now you needed to hang out till about 20 minutes after sunset and if you do then it is with the wait.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/8, 4 sec

My recommendations are to bring a tripod and a lens around 100 – 150mm range. The 70-200mm works great and I used it as well as the 28-300mm lens.

The clouds were covering Mount Rainier this night, but the city looked just marvelous.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/8, 1/4

Here are some photos shot with the Nikon D4 and the Sigma 70-200mm f/2.8 EX DG APO OS HSM.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/8, 1/1.2

I did shoot some with the AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR on the Nikon D4 as well.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/8, 2.5 sec

Maybe you will have even better night than I when you shoot the Seattle Skyline. Maybe you will see Mount Rainier.

The Kodak Carousel

I own a Kodak Carousel projector. This was a magic lantern to the past for me. I loved how simple it was to operate.

I used to put together slideshows on a regular basis for my work where I would sync two or more projectors to a soundtrack. The tape had the sound on one track and on another track where the cues to advance and fade up or down the lamp on the projectors to help photos disolve on the screen.

The other day I got hooked on the TV show Mad Men.  According to the show's pilot, the phrase "Mad men" was a slang term coined in the 1950s by advertisers working on Madison Avenue to refer to themselves.

Just yesterday I watched the show about the agency working with Kodak on their new slide projector, which they wanted to promote the wheel aspect of the tray.

I think this scene is not just masterfully written piece explaining what advertising executives do, but gets to the heart of the power of photography.

Here is that scene for you to watch.

Mad Men: The Carousel from ray3c on Vimeo.
While the power of images is used all the time by Madison Avenue to hook us on products and services, I think Don Draper's image selection in the pitch gets to the real power of photography for the individual.

I love this speech of Don Draper's:

Technology is a glittering lure. But there is the rare occasion when the public can be engaged on a level beyond flash, if they have a sentimental bond with the product.

My first job, I was in house at a fur company with this old pro copywriter, Greek, named Teddy.

And Teddy told me the most important idea in advertising was ‘new.’ Creates an itch. You simply put your product in there as a kind of calamine lotion.

But he also talked about a deeper bond with the product: nostalgia. It’s delicate, but potent.

Teddy told me that in Greek nostalgia literally means ‘the pain from an old wound.’

It’s a twinge in your heart, far more powerful than memory alone.

This device isn’t a space ship. It’s a time machine. It goes backwards, forwards. Takes us to a place where we ache to go again.

It’s not called ‘The Wheel.’ It’s called ‘The Carousel.’

It lets us travel the way a child travels. Around and around and back home again to a place where we know we are loved.

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/3.2, 1/220

Yesterday at our church I took a few photos for preserving such a fun service. There is this photo I shared on my facebook page that was then shared by many others. People loved it not just because their kids are in the photo, but because of "nostalgia" of their own.

I loved it because the church this year created a special service for families. Often parents of little toddlers feel the pressure of keeping their kids quiet in "big church" and here they wanted the families to really feel welcomed.

I have never seen this many kids during a Children's Sermon before at our church.

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 3200, ƒ/3.8, 1/500

 I also captured my daughter singing as part of a quartet. I was extremely proud.

Today photos help me remember and appreciate what a wonderful family I have. This photo here is from Easter 2001. Fourteen years ago and my daughter was just two years old.

We might not be showing our photos on a Kodak Carousel projector any more, but the photo still lets us travel the way a child travels. Around and around and back home again to a place where we know we are loved.

First Shoot with Sigma TC-2001 2x paired with Sigma 120-300mm ƒ/2.8 DG OS HSM | S

Nikon D4, Sigma TC-2001 2x, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 12800, ƒ/5.6, 1/800

Ever since I heard about the new Sigma TC-2001 2x I was interested in getting one for my Sigma 120-300mm ƒ/2.8 DG OS HSM | S.

Last night at 6:30 pm UPS delivered the lens to my door and by 6:45 pm I was off to photograph a middle school baseball game that started at 7:30 pm.

Optimized for Nikon F-mount lenses in the Global Vision line, the TC-2001 2x Teleconverter from Sigma will offer an increase in focal length of 2 times for select Global Vision lenses. This model offers full communication between the lens and camera and will allows autofocus to operate at up to f/8. The teleconverter also features two Special Low Dispersion elements for reducing the appearance of chromatic aberrations and maintaining quality. Additionally, for protection, the TC-2001 is both dust and splashproof. When attached, the 2x conversion results in a light loss of approximately two stops.

Nikon D4, Sigma TC-2001 2x, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 10000, ƒ/5.6, 1/2000

The second photo above I took while the players were warming up at 7:15 pm and therefore I was able to shoot at a lower ISO and higher shutter speed–Still had sunlight. This makes this test a little skewed. The sharpness of the photos just 20 minutes later cost me almost 2-stops. I went from ISO 10000, ƒ/5.6 @ 1/2000 to ISO 12800, ƒ/5.6 @ 1/800.

You can see the ball in the second photo frozen in air, but the first photo the player's arms are blurred.

Nikon D4, Sigma TC-2001 2x, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 12800, ƒ/5.6, 1/800

I can tell you that I did notice more responsiveness with the lens with focusing. That alone would be a great reason to upgrade from the older Sigma 2X.

I also believe there is better contrast and colors with this converter over the older one. Again this would be enough to upgrade.

I also did notice less chromatic aberration as compared to the older Sigma 2X.

Nikon D4, Sigma TC-2001 2x, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 12800, ƒ/5.6, 1/500

I remember years ago a young photographer was asking an older photographer "How many millimeters does your lens resolve?" and the response was priceless. "About $5,000 worth." The younger guy looked all puzzled and then the photographer explained. "How the hell do I know how many millimeters is resolves, but I do know I am selling my largest 40" x 60" prints with it for $5,000 regularly."

I posted the photos for the client to download last night after the game. This morning I get this note from the client:

Thank you so much! Photos are great! I already put one on our home page. I'll touch base with you before the soccer game.

I uploaded 198 images and about half way through the game I needed to take the 2X off because the shutter-speed was dropping too low. There were only 79 images of the 198 shot with the Sigma 2X. Of all the photos the client ended up picking one this morning to post on their website. It was shot with the Sigma 2X. While I would have maybe picked a different photo [everything is subjective] here is there pick. I think because you can read the team name it was picked over some of the others.

Nikon D4, Sigma TC-2001 2x, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 12800, ƒ/5.6, 1/800

Photographer are you shooting yourself in your foot?

Fuji X-E2, FUJINON XF 18-55mm, ISO 1000, ƒ/2.8, 1/500

In the words of Joan Rivers, "Can we talk?" Lets just get honest here, we are often too concerned about ourselves and not enough about our clients.

Did you know that many people who are doing what they consider loving actions are actually hurting someone? More than often they are taking actions because it makes them feel better and not their friend.

I learned about this when I was a Social Worker. We call this behavior enabling and not helping behavior.

Enabling takes place when you are in some way allowing the addict, alcoholic, or afflicted individual to continue their destructive behavior. Enabling is often perceived as helping. The essence of enabling is permitting the addict to continue with their addiction, often by supplying money, shelter, legal aid, or any other form of help.

What I learned about enabling to avoid it requires you to know more about a situation. You must understand the root causes and not just the symptoms.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/6.3, 1/250

Providing Solutions & Not Problems

I think way too many photographers are approaching clients with problems and not solutions. They are just like those who are enablers–they do not understand the big picture and are shooting themselves in the foot over and over.

I believe today those who pitch ideas that are easy for a client just to plug into their situation get more jobs than those who pitch ideas that require the client to have to do more work to use their contribution.

Here some questions to ask yourself about your pitch:

1. What problem does my idea help solve for the client?
2. What does my client have to do to implement my idea?
3. If my idea requires help am I finding it and providing the total package or relying on the client to provide something?
4. Does my pitch talk about how this addresses the clients issues?
5. How do I know that my idea is good for the client?
6. Do I have more than one idea in case the client says they are not interested for some reason or another?

To boil this down to the basic question you need to ask why should the client care about your idea. Don't assume they understand how this will help them–you need to have that as part of your presentation. It will show them you do understand them or it will show quickly that you do not understand at all what they are doing.

2015 Staff Photojournalist Job Requirements

Nikon D810, 24-70mm [photo by: Robin Nelson]

For those who want to find a staff job working at Newspaper, Magazine or online outlet the job description is a lot different these days than it was years ago.

Here are a few descriptions I pulled from job postings with the National Press Photographers Association:

1. Candidates should excel at news, features and sports photography. Our visual journalists also are counted on to produce multimedia presentations and online slide shows. 
2. The multimedia coordinator is responsible primarily for video production and assists with other multimedia projects, including photo research, livestreaming and interactive content. The multimedia coordinator ensures that video projects produced will meet editorial and branding standards and tell compelling and distinctive stories. 
3. Candidates should have news, feature, sports and multimedia experience and be prepared to work in a fast-paced, breaking-news environment. 
4. Looking for an energetic, versatile, creative multimedia/visuals editor who can help us continue to produce great visual content for our readers!

Multimedia is technically anything that involves multiple types of content. The World Press Photo organization split this category into interactive and linear.

Linear productions give the reader guidance. There is only one way to experience the story. With an interactive package the reader is able to decide the direction.

With either one there needs to be visual storytelling in terms of photography and video in each.

Nikon D810, 24-70mm, ISO 3200, ƒ/7.1, 1/60 [photo by: Robin Nelson]

Here is what I am telling students and those wanting to make a career change to storytelling/photojournalism.

I believe that there are three components [skills] needed to hired as a staff multimedia producer.

First you need to be able to write. You need to be able to capture the story in a written form. This is necessary because you need to provide written captions many times and today you may be putting the package together all by yourself.

Second you need to have a good command of photography skills to capture the visual story as stills. You need to master your camera to be able to not just get well exposed images, but use the creative tools of aperture, shutter speed and light to tell a story more effectively. You need to know how to use artificial light and I highly recommend knowing how to use strobes off the camera.

Third you need to master capturing motion and sound. Understanding that in most multimedia linear projects sound will drive the project, so you must know how to capture and use it to help lead the audience through the story. You need to master post production software like Final Cut Pro or Adobe Premier.

Your understanding of what makes a good story and how to find stories will be what is most valued by your employers.

I would suggest taking a journalism writing course as well as photojournalism course before you dive into multimedia post productions skills. This will take more than just taking the classes back to back. You need to produce at the highest level showing you have mastered these skills.

Your portfolio will be more important than your degree. There are many people working in the industry without a college degree and there are many people with degrees not working because of their portfolios.

With portfolio being key, your degree is what can also make you more valuable, especially if your degree is in a subject that helps make you an expert in that subject. For example Sebastião Salgado has a doctorate in economics and Eugene Richards has a degree in social work. Both of these photographers built their professions on their expertise on the subjects they cover.

As you can see this is a lot to master, so don't quit your day job before you have a portfolio that shows you can tell stories using multimedia.