Turning into a Bird Watcher

 
Fuji X-E2, FUJINON XF 55-200mm, ISO 4000, ƒ/4.8, 1/500

Do you feel like a little kid all excited about a subject you get to photograph? I know I do, and lately, since we have an excellent bird feeder and a variety of birds at the feeder.

Here we have the male purple finch and the Red Headed Woodpecker on our feeder. Again, this is something that connects me to the past. My grandparents loved their feeders, and I remember them talking about the birds as they visited.

Fuji X-E2, FUJINON XF 55-200mm, ISO 5000, ƒ/4.8, 1/500

I was surprised the woodpecker stayed for so long on the feeder, just chilling. It was lightly raining, and I guess just like we enjoyed a shower to relax, maybe the bird was relaxing from all the rain.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S,  Sigma 2x EX DG APO Autofocus Teleconverter, ISO 25600, ƒ/5.6, 1/2000

Another thing I get excited about is sports photography. As I went through my college negatives the other day, I noticed how much more I shot at a typical game than a specific assignment. Getting a good action shot is much more challenging than getting an environmental portrait.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S,  Sigma 2x EX DG APO Autofocus Teleconverter, ISO 25600, ƒ/5.6, 1/1600

Please note it when you find yourself absorbed and lost in something. This absorption is most likely where your strengths lie. This feeling is something you need to nurture.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S,  Sigma 2x EX DG APO Autofocus Teleconverter, ISO 14368, ƒ/5.6, 1/2000

Sometimes as I have found, you don’t have to go any further than your backyard.

Scanning some photos from college in 1982

 

It was a lot of fun going through my work while I was in college. This photo is from my Junior year at East Carolina University.

Now one thing I am noticing already that I love about today’s digital cameras over the film years–XML code that tells you the camera, lens, aperture, and more data about the camera used to shoot the photo.

Another thing is today, I embed IPTC or think of it as all the text I want to help with the image. So I can store the caption information, Copyright, and city and state information today. I can even keep the GPS coordinates.

 

This photo is from October 9, 1982, at Ficklen Memorial Stadium in Greenville, NC, with an attendance of 19,521. ECU defeated Richmond 35-14. I was able to look that up on the web.

I can also tell you there is a lot of grain in Tri-X film, and there were a lot of spots where there wasn’t a chemical base giving small spots.

 

Today I can get incredible detail that wasn’t all that possible with the Tri-X in a 35mm camera. I now understand why the medium format gave you a better resolution. You had more information than you needed.

 

Joe Jackson is performing at Great Adventure Theme Park in Howell, NJ. While going through all the negatives, I noticed more soft photos due to shutter speed issues. Today I would catch that issue much faster due to the histogram and the LCD to help check images for sharpness.

 

It is just fun to reminisce and scan these old photos. Hopefully, I can scan some of those worth keeping and get all the caption information embedded in the images so they can be searched and posted online. This way, historians and just anyone can search and find photos that I happened to take that they may enjoy one day. 

How to deliver photos to clients

 

I talked on an earlier blog about switching from CD/DVD as a deliverable to USB. It also talks about where I ordered my custom USB jump drives. Here is that post.

The question came up about how to deliver photos to a client on a board the other day. With new computers not coming with a CD/DVD player and the size of images today making it quite challenging to fit all your photos on one CD/DVD, the question is, what can you do? Here are my thoughts that go beyond the one size fits all.

The key when working with potential clients and clients is that you are thinking about them and not yourself. Telling them to bring a USB is thinking about yourself rather than you–that is if that is the only option you give them.

General pricing tips:

First, remember that you need options. This way, you communicate your desire to accommodate their needs and tastes.

Example:

Deliverable: You may choose any of these different options for having the photos delivered to you. If you have another way you would like them delivered, please let me know, and I can get you a price for that service.

1. Photos delivered on a USB Jump Drive

2. Photos delivered by the Cloud. We send you an email with a link that you can click on and, using a password, then download all the images on your personal computer. Of course, you will need the space on your computer for the photos. For example, a typical portrait session can take 500 megs of space on your computer, and a wedding can be 3 gigs to 4 gigs of space.

3. Photos put into an online Gallery. This choice allows you to order prints, t-shirts, coffee mugs, and more and download the images. An online gallery is when someone wants to share their photos with friends and family. The online gallery allows them to order their prints, and you do not have to get their money and handle shipping their prints to them–we handle all that for you.
4. Photos delivered as prints. This option is where you choose print size, and we give you all the photos as a print. You can pick 4×6, 5×7, 8×10, or whatever size you desire, and then we deliver all the photos as a print. You can also request multiple copies at the same time.
5. Combination of any of the above. You can mix and match the delivery of the above options.

I recommend pricing each of these and maybe even giving the price of combination packages of those options. I would discount them if someone ordered prints, USB and wanted an online gallery.

Remember, the thing that will make you more money than just taking the photo is the deliverable. The deliverable is the customer’s final experience with you and how they will share their experience with their friends.

 

Nikon D4 Video Settings

This is based on my experience, and others may have other suggestions that might contradict my comments.

I recommend a few settings when shooting a video on your Nikon D4. When this becomes critical, you decide to shoot multiple cameras and need everything to match when you get into post-production.

I think editing RAW images in Adobe Lightroom and getting ideas to match from different cameras is much easier and more accurate than using the video editing software of Adobe Premiere or Final Cut Pro X.

Before you go to the Movie settings on the camera, I recommend creating a menu bank for Video, as I have done here. This way, once you have made all the settings, they are saved.

In the movie Settings, choose your Frame Size/Frame Rate. The standard Frame Rate for movie theaters and TV is 24 fps.

When you pan or right to left, you will see Frame Rate affect the look and feel of the image. The public is so used to 24 fps that this is the best default. Some use 30 fps.

People often shoot higher Frame rates to make a slow motion by slowing it down to 24 fps.

Your shutter speed on the camera should be set to twice the Frame Rate for the movie settings. If you shoot 24 frames, you will be at 1/60 since this is the closest. If you hit 60 fps, then 1/125 should be your setting.

I usually shoot on 1080/30fps and set it for high quality.

Most of the time, the microphone setting must be set manually, and the sound levels must be used to adjust the recording volume. I highly recommend using headphones and looking at the audio meter on the viewfinder. Be careful because the recording level and the headphone volumes are set separately.

I have my color space set on Adobe RGB. You also want to set the Picture Control, then.

Some of this is personal preference, but the key is if using more than one camera, all the settings are set the same, or you will have trouble matching the Video, and color can look off switching between the cameras.

You can adjust your microphone levels and exposure when you go to Live View in movie mode. To prevent light entering via the viewfinder from interfering with exposure, close the viewfinder eyepiece shutter.

It would help if you went to manual mode to have the most control over the settings. A subject’s movement can change the exposure even when the light stays the same. Use manual mode.

As you can see from this chart, you can control more in manual mode.

Regarding focus, I use autofocus when I have a subject framed and then go to the manual guide.

The motor for the lens tends to make a noise I don’t want to pick up.

Microphone

I recommend using a Lavalier microphone for interviews, and for natural sound and quick-moving situations, I recommend a shotgun microphone.

Here is an earlier blog post I did to help you with the audio recording.

Memorial Day remembering the people who died while serving in the country’s armed forces

ON THE BEACH: The first wave of Marines takes cover behind the sand dunes on Saipan beach, during the World War II invasion of Marianas Islands. The soldier kneeling in the sand at far right is Carl Matthews of Texas; second from right is Wendal Nightingale of Skowhegan, Maine; standing is Lt. James Stanley Leary of North Carolina. Neither Nightingale nor Leary made it home from Saipan; both are still listed as missing in action. Time Life photo by U.S. Marine Sgt. James Burns

The oldest of my father’s siblings was James Stanley Leary who was named after his father and my grandfather. He died July 14, 1944 during battle with the Japanese on Saipan. 120 Marines died there.

I too was named after my grandfather, so we shared the same name.

Good chance that the famous Life photographer W. Eugene Smith was there with him. This is where he took the famous photograph of the little baby being pulled out by the soldier. Here is link to that photo.

Today is about remembering those who gave the ultimate sacrifice for our freedom.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/8, 1/250

I drove up to Canton, Georgia to the National Cemetery there to just remember. While there I saw family members in tears missing their loved ones.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/8, 1/250

I saw what looked like parents at their child’s grave.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/8, 1/200

I saw service members remembering their friends. This marine left this for his friend.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 100, ƒ/2.8, 1/3200

I had waited till he had paid his respects to get the close-up of the Symbol of the Corps The Eagle, Globe and Anchor emblem has been part of the uniform since 1868 and became the official emblem of the Marine Corps in 1955.

The eagle with spread wings represents our proud nation. The globe points to worldwide presence. The anchor stands for naval tradition. Together, they represent a dedication to service in the air, on land and at sea.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 100, ƒ/2.8, 1/3200

Today this tomb stones are visual reminders to us the living of the dead who sacrificed. Remember your photos will help generations to come to be able to remember. Take pictures with the attitude of service.

Nikon D4, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/2.2, 1/3200
John 15:13 Contemporary English Version (CEV)
 
13 The greatest way to show love for friends is to die for them.

Getting the Iconic travel photo

 
Three photos stitched together, Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/9, 15 sec
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/7.1, 20 sec

When traveling in a new town, I like to try and get the Iconic image of the city, which is often a skyline shot.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.6, 1/250

A big tip is to find the right time of day to get the photo if at all possible.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/10, 1/640

One of the iconic places in San Diego is the photo of the statue, which is a copy of the famous Alfred Eisenstadt’s V-J Day Kiss. Since I am here working on a Military Appreciation coverage, I thought this would be an excellent b-roll image and stock image to use.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 3600, ƒ/7.1, 1/100

I even got a photo of The Hotel del Coronado, another landmark in the San Diego area.

When I went to Seattle, I did the same thing.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/8, 1/6

I shot this photo and then waited for the sun to go down.

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

For the skyline shots, I used a tripod that kept the camera steady for the long exposures.

Scanning old negatives

 
Pentax K1000 & Pentax 135mm lens, Kodak Tri-X  [April 7, 1982]

My daughter loves theater, and this made me want to pull out some photos I shot during college at East Carolina University’s theater doing Show Boat.

To scan my negatives, I used the Nikon Coolscan V-ED [Adorama has one for $739]. On Amazon, it sells for $2,000.

A high-performance dedicated film scanner from Nikon, the CoolScan V ED offers high-quality scanning of 35mm slides, 35mm film strips, APS film (with optional IX240 film adapter), and prepared slides (with optional medical slide holder). The Scanner-Nikkor ED glass lens offers a 4,000 dpi optical resolution, while the 3,964-pixel linear CCD image sensor and 14-bit A/D input (8-/16-bit output) provide true-to-life, brilliant results.

Nikon’s own LED illumination technology ensures accurate color with no warm-up time or risk of heat damage. Scan times are as fast as 38 seconds including image transfer to display, and as fast as 14 seconds in preview mode. Automatic color/contrast compensation helps you achieve accurate results, while the ICE4 advanced digital image correction suite of technologies helps to restore old slides to their original glory. Additionally, the included Nikon Scan 4 software provides a comprehensive and easy-to-use interface for managing your scans.

The CoolScan V ED has a convenient plug-and-play USB interface, while one-touch scan and preview buttons will have you scanning film in no time. PC and Mac compatible, the CoolScan V ED also comes backed with a one year limited warranty.

Pentax K1000 and 50mm lens, Kodak Tri-X

If you have scratches and spots like in this photo, you must use PhotoShop to clean up the image.

SilverFast 8

Now Nikon has stopped supporting it, so to make it work on my Macbook Pro, I bought the software SilverFast 8.0. This software is even more advanced than the original Nikon software I used years ago.

 
Now the learning curve is a little steep to get used to scanning with the software. You can see the version and what I set up for when I downloaded the software. You pick your scanner.
 
 

There are a lot of videos already made that you can watch to help you step by step. Just Google SilverFast 8 and look for just the videos; there are many to choose from.

Pentax K1000 and 50mm, Kodak Tri-X

There is one this great about the scanner. Compared to the time spent in a darkroom working on print forever burning and dodging, with the scanner and PhotoShop, you can get far superior results.

I hope this inspires you.

 
 

The Principles of Photography Versus the Techniques of Photography

 
Nikon D4, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/400

Have you ever noticed when you use a technique that some famous photographer perfected and maybe even taught you that you don’t get the same results?

Maybe you have realized that you are implementing all these techniques correctly in your photos, and you continue not to win any competitions you are entering.

A wonderful moment in the movie Remember the Titans is about how “… attitude reflects leadership.” Here listen to the clip:

 

Where is your heart?

It wasn’t what I did that made a difference–it was how I thought. I start d asking myself why specific techniques worked and others didn’t. I soon noticed that when a strategy was wildly successful, it had more to do with the fact that I honored a principle than the strategy itself. When a  strategy was less successful, that too could be directly related to a code I violated.

A principle is different from a strategy; it is about understanding the why and not the what or how. Your ability to be flexible is because you are more relaxed. Understanding these principles is because you “GET  IT,” and because you do, you can listen more and look more for ways to implement them. Natural creativity can take place if you understand the principles.

The principle of the technique frees you up, whereas the method alone will freeze you up.

Nikon D4, AF NIKKOR 85mm f/1.4D, ISO 800, ƒ/1.4, 1/160

I remember this photo shoot I was doing to help a young actress with her headshots. I could see what I wanted to capture right in front of me, but it just wasn’t working. I was shooting with soft boxes using strobes, and the depth of field was too big.

I wanted to shoot at ƒ/1.4. So, always using my strobes in the studio was a technique. But unfortunately, I was letting that technology get in the way of the principle of soft lighting.

These lights are just too much, and then I relaxed and realized the modeling lights might be just enough to make it work. So I turned off the radio remote, opened the 85mm lens to ƒ/1.4, cranked the ISO up to 800, and started shooting.

That is only a tiny part of why I love this photo. You see, there is another part of the creative process. I had been noticing the model’s looks and the mood they were creating. So I talked to her about how her particular looks reminded me of some famous actresses in Hollywood.

Nikon D4, AF NIKKOR 85mm f/1.4D, ISO 200, ƒ/8, 1/200

I thought she looked like Evil Queen/Regina Mills (Played by Lana Parrilla) on Once Upon a Time. She loved that actress and was pleased I saw her in that way.

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

In this photo, I told her how she reminded me of Anna May Bates (played by Joanne Froggatt) of Downton Abbey. Well, h  mom was there and said I was mentioning all her favorites. We were connecting.

You see, the principle of lighting and WHY drove the creative process and not just put the light here and look here.

Nikon D4, Nikon 85mm ƒ/1.8G, ISO 50, ƒ/2.8, 1/60

I was trying to capture her personality for the photos of the beautiful blonde. She is such a ham and loves to have fun. Not too serious at all. After a while, I was connecting with her like the humble kid next door.

Then as we changed locations, I started to see how specific areas would bring out different parts of her personality. They would compliment her and create a mood. The last photo is what I think of when I think of the famous Dove Girl ads.

You see, we have been talking about the principles of portraits and not so much technique.

If you love photography because of playing with all the gear, then be ready to accept mediocrity. However, if inspiring imagery motivates you, then learn to get in touch with your heart and what moves you, and then you will create great images.

Multimedia Storytelling–NEED to know vs. WANT to know

 
Last year’s storytelling workshop in Lisbon, Portugal [Fuji X-E2, Fuji XF 18-55mm, ISO 6400, ƒ/13, 1/450]

When teaching workshops on storytelling, we always like to get a feel for what the students want to learn from the experience.

There are some very consistent things people want to learn from a storytelling multimedia workshop. One of the top things listed usually involves software. They want to learn how to use Final Cut Pro X or Adobe Premier Pro, for example.

Now, if we created a workshop based on what people talk about, most would leave the workshop not much better than when they came. Even the things they don’t mention are sometimes at the top of the list.

The workshop location is a HUGE factor in people choosing to attend. They might not sign up if the workshop were somewhere down the street from them versus some exotic place like Cuba, Paris, or Bucharest, Romania.

What students list at the very bottom of their desires to learn is audio.

Click on the photo to see a larger one.

Here is the timeline inside Final Cut Pro X on one of my most recent projects. The interview is the foundation for the project, and the sound for this is what is driving the entire project. What the subject is talking about influences what images should accompany the words.

While we teach how to interview and get the sequencing of the interview in an order that helps engage the audience and tell the story. The interview sound must be clear, or all else is a waste.

Shure FP1 with the WL183 (Omnidirectional) microphone

Quality Sound

The foundation for every multimedia/video project is the soundtrack. Here are two microphones I use all the time, but regardless of what microphone you choose, you must know how to use it and set the microphone levels to get the sound just right.

Shotgun Røde Video Pro Microphone

People will not watch your project if the sound is of poor quality. However, they are more likely to care if they sound high quality and the visuals are mediocre than if they were reversed.

Which Microphone?

My recommendation for anyone going down this storytelling road is to invest in a lavalier microphone. One with a long cord of 20′ will work great for interviews and is reasonably priced. You can get one for about $23 from most stores.

I like this microphone because it picks up sound close to it and drops off pretty quickly, so you can put this on someone’s collar and get their voice, and lavalier will diminish ambient sound around the room.

The shotgun microphone is excellent when you don’t want to see the microphone, and depending on how you place it in relationship to the subject can give you a charming sound. It takes more practice to use this over the lavalier.

NEED to know vs. WANT to know

Now back to the headline. While learning sound is not all that sexy, based on everyone pretty much ranks this at the bottom of what they want to know; it is the foundation of the project. Good sound is equivalent to good exposure with your photography/video, but the difference is that it is more important.

I did a simple package on how I did boxes years ago. It is pretty easy to edit once you have the voice-over recorded. See if you can see how the sound drives the project.

http://www.stanleylearystoryteller.com/Chick-fil-A/Multimedia/_files/iframe.html?=560×470
Here you can see the package I produced. The box was in 2008 when I used an audio recorder and photos. But this is the backbone of the video to understand that the soundtrack becomes the timeline for the project.

http://www.stanleylearystoryteller.com/Chick-fil-A/soccer/_files/iframe.html?=550×481

Advice to those wanting to learn multimedia/video

The most important tip I can give you is to be open to the professional teaching you. Try your best to hear what the professional says you NEED to know versus what you WANT to know. Don’t filter out what you think is unnecessary or not that interesting.

Pour yourself into every step of the process of learning a skill. The reason you do this is not that you can pass a test, but instead that you will master the subject.

Do you want a surgeon who passed their tests or knows about your procedure? Just as a surgeon who didn’t pay attention except to the exciting parts of medical school will lose a life, so will the storyteller who only learns what they want to know. They, too, will lose the life of the story.


Here is another example. Listen to the soundtrack and see how it moves the story along.

https://player.vimeo.com/video/68857225

 

Your feet are the secret to better photos

 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 5000, ƒ/5.6, 1/100–Off camera flash Neewer TT850 triggered by the Neewer 433MHz Wireless 16 Channel radio remote set to 1/128th power and with gels and grid

I love it when you can get super close because people forget about you. Here this boy is deep into his computer software, and the teacher is helping him.

 
Getting close to people takes time.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 6400, ƒ/5.6, 1/100–Off camera flash Neewer TT850 triggered by the Neewer 433MHz Wireless 16 Channel radio remote set to 1/128th power and with gels and grid
If I did this just once, you might think it is luck, but trust me, once you let people feel comfortable with you and you are non-threatening, you can get close and get better photos.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1100, ƒ/5, 1/100
Photographed with a 14-24mm, I am shooting zoomed as wide as it will go at 14mm. So in all of the images in this blog, I can take my hand and reach and touch the main subject’s face.
 
Being close is the key to your photos looking better–Get more intimate with your feet. You should be able to touch your subject because you are too close most of the time.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1600, ƒ/5.6, 1/100
Notice the difference when you work this close from the 14mm to this photo at 28mm. It starts to look like a telephoto lens.
 
You get a sense of place by getting close and using ultra wide-angle lenses. You can see the other students and how they are working. I try to put the audience in the room with me.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1600, ƒ/5.6, 1/100
Here I stepped just a little back and zoomed in to 42mm. Notice how distant you are in comparison?
 
If you want your photos to look better, use your feet and get close enough to touch your subject.
 
There are a few exceptions, and wildlife is one of those exceptions. I use long lenses like 500mm or 600mm, so I live to have another day.
 

New Camera Gear Can Create Panic

 

When my wife and daughter help me with assignments, and it comes time to pack up, they bring the gear to me, and then I put it away.

Often as we are doing this, the client is nearby, and my wife explains how I have a particular place for everything and how she doesn’t want to cause me to panic.

New Gear Creates Panic

Photography is excellent for those who tend toward Obsessive Compulsive Disorder. Of course, no one wants to be OCD because it can be debilitating. But camera bags and all this gear work great for organizing your stuff.

Here you can see my Think Tank Airport Security™ V2.0 Rolling Camera Bag, That I use all the time.

Once you get your bag all set with your gear, for the most part, the equipment has to go in the exact location, or it will not fit. But then, all it takes is buying just one more piece of gear that requires you to reconfigure your bag.

So the other day, I did just that and a day later took off to Houston, Texas, for a job. I reached for a piece of gear I use all the time, and it wasn’t where I always put it.

When I didn’t have the gear, I thought of a story in the Bible that captured my emotional state so well.

Luke 15:8-9
“Or suppose a woman has ten silver coins and loses one. Doesn’t she light a lamp, sweep the house and search carefully until she finds it? And when she finds it, she calls her friends and neighbors together and says, ‘Rejoice with me; I have found my lost coin.’

While on the job, I was on a short timeline and out of town. I quickly adjusted and got the job done, not using that piece of gear. I must have left that gear on the fireplace where I was putting things while rearranging my camera bag.

Last night after returning from Houston, I, too, searched my house. When a cleaner comes to our home, she tends to put things away, and sometimes it takes us a little while to find them. So I knew she had been at our house around that time and thought maybe she had moved it somewhere.

I asked my daughter and wife if they had seen my gear. They had no clue as to what I was describing. Not finding stuff went on for a few hours. Finally, I decided to go and get out of the house to clear my head and get something to eat. Later I returned and continued to look.

It is essential to note that unique gifts often accompany the challenges of Asperger Syndrome [which I have]. Indeed, a remarkable ability for intense focus is a common trait. But unfortunately, I could not let go until I resolved this issue.

Beating myself up

I then remembered I had some boxes that the new gear came in and wondered did I throw them away accidentally. I have more jobs soon and was upset that I would have to go to the camera store and replace the gear. It would be around $800. No one just casually replaces something for $800.

Finally, I gave up after finding an older piece of gear and realizing I could use this temporarily. But unfortunately, the rechargeable batteries in the equipment were dead. So I went to my bag and looked for the chargers–which also had been moved around.

I found my gear as I took one of the rechargers out of my bag.

Memory Issue

Once a memory is created, you must store it (no matter how briefly). Many experts think there are three ways we keep memories: first in the sensory stage; then in short-term memory, and ultimately, for some memories, in long-term memory.

Important information is transferred from short-term memory into long-term memory. The more the information is repeated or used, the more likely it is to end up in long-term memory or be “retained.”

Usually, I do a pretty good job of remembering my organization changes because I am physically moving the gear and thinking about what I am doing it normally sticks. If, however, I get a phone call in the middle, this can affect my memory recall.

Forgiving Myself

The hardest part of an event like this in my life is the ability to forgive myself. It is more complex most of the time to forgive myself than others.

“Holding on to anger is like grasping a hot coal with the intent of throwing it at someone else; you are the one who gets burned.” –– Buddah

Benefits of forgiveness:

  1. Lowers stress levels
  2. Lowers your heart rate
  3. Lowers blood pressure
  4. It helps you sleep better
  5. It enables you to live longer

I could feel my body relax once I found it, and then as I began to forgive myself for my memory lapse, I also felt the stress release.

Had I lost the gear, I would have bought replacement gear and then also had to forgive myself so that I could move on.

Losing gear will happen again in the future when I cannot find something. The key to success is allowing yourself to be human and make mistakes.

When shooting sports–Shoot Variety to capture Athleticism and Competition

 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1400, ƒ/11, 1/2000

When covering sports, you want to communicate the athleticism and the competition. Here I went low for a good reason.

When you get below eye level of your subject, you give them power. When you get low as I did here, you start to make the athletes look like the “Roman gods.” We even name many of our sports teams after Greek names like Spartans.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1400, ƒ/11, 1/2000

Now I am standing in the same position, but the camera is at my standing eye level. The thing that makes this photo work is the aspect of “competition.” You can see all the racers tightly packed and looking for an opportunity to move ahead in the pack.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 800, ƒ/6.3, 1/2000

Depending on the caption, this photo of the three riders can make this photo more or less critical. If these were the leaders [first place, second place, and third place], this could be a good photo in the story. However, the guy in the middle’s facial expression doesn’t communicate effort. Instead, he looks like he is enjoying a leisurely Sunday afternoon bike ride.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM,  ISO 2800, ƒ/5.6, 1/2000

In contrast, the earlier photo of this one is shot a lot tighter to emphasize facial expressions, and I think these riders all look a lot more competitive in their facial expressions.

Tips:

  • Shoot a variety of angles
  • Shoot with a variety of lenses
  • Look for body language to help communicate
  • Look for facial expressions
  • Be sure you show more than one athlete to display competition
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 100, ƒ/22, 1/50
While this is an excellent shot, it lacks competition.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 100, ƒ/9, 1/30
See how others you introduce “competition” in the sport included?
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 160, ƒ/14, 1/30
You don’t need a lot of riders to communicate competition; just one more will work.