Black & White bails me out

Nikon D4, 70-200, ISO 12800, 1/1600, ƒ/2.8 with Custom White balance using ExpoDisc

I walked into the gym and I knew right away I was going to have problems. In an earlier post you will see a basketball shot in color that looks really good. To the untrained eye the gyms may look alike in their lighting, but they are far from it.

I talked about shooting under fluorescent lights earlier in a blog posting. You need to set your custom white balance while the shutter speed is below 1/100 to be sure the cycling of the lights don’t affect the setting. Sodium Vapor lights, which these were are also cycling like the fluorescent lights.

The older the lights to more likely you will get color shifts and banding in the photos. One more factor that can affect the color shift is if the lights were not installed correctly. If some of the lights polarity is different from the others you will get banding.

While shooting this basketball game on this blog the minute I went above 1/100 I was getting color shift all through the image as you can see in the first photo. I was more interested in stopping the action than correct color.

By going to black and white I eliminate the color shifts in the photo. While I would prefer to have all the photos in color, unless you strobe the gym like I did here in this blog you really should just convert all the photos to black and white.

Nikon D4, 70-200, ISO 12800, 1/640, ƒ/2.8

Having the color off will make your work look amateurish. By eliminating the color you have now solved a problem with the color.

Nikon D4, 70-200, ISO 12800, 1/500, ƒ/2.8

Now please also note that while the ISO and the aperture never changed in all the photos, the shutter speed is different.

Here are my custom settings for this photo shoot from an earlier blog.  These are all for a Nikon D4

  • Auto ISO Low 100 – High 12,800
  • Minimum Shutter Speed set 1/2000
  • Shutter only when pushing release
  • Back button focusing
  • Auto Focus 21 pts centered and locked

Child Prodigy Photographer: Still Waiting

By definition a Child Prodigy is:

A child prodigy is someone who, at an early age, develops one or more skills at a level far beyond the norm for their age.[1] A prodigy has to be a child, or at least younger than 18 years, who is performing at the level of a highly trained adult in a very demanding field of endeavour.

Here is a formal list of child prodigies and as you can see there are no photographers. This past week I had some time to hang out with Dave Black. It was Dave that made this observation about there are no child prodigies in photography.

Why no prodigies?

Photography has been around now for two hundred years and you would think that if it were possible that we would have a prodigy by now.

While I do not know exactly why there are none I do have my hypothesis. Why even care if there are any prodigies? I believe the answer is that this is a learned field and that even if you have an artistic eye you still need to have some training to succeed.

No Degree Required

Photography does not require a degree or certification to practice. If you own a camera you can hang your shingle out as a professional photographer.

Many professionals have tried to create certificate programs to help them in their business. It doesn’t work, because of one simple problem. People will look at your work and not your degree to hire you.

We look no further back in history than to 2012 to see what it takes to be a successful photographer. Why only last year? Well in many articles written about photography, many are saying that due to the camera phone that more photos are made than at any other time in history and that 2012 was the biggest of all time.

While many photos were made last year only some are rememberable. The great photos were not just made because the camera was set on “P” mode [professional mode].  Hopefully, you know I am joking. They are great because the photographer had a vision and knew how to manipulate the controls and/or light to capture what they were wanting.

Abstract Thought Required

“The formal operational stage begins at approximately age twelve [adolescence] and lasts into adulthood. During this time, people develop the ability to think about abstract concepts. Skills such as logical thought, deductive reasoning, and systematic planning also emerge during this stage.

While children tend to think very concretely and specifically in earlier stages, the ability to think about abstract concepts emerges during the formal operational stage. Instead of relying solely on previous experiences, children begin to consider possible outcomes and consequences of actions. This type of thinking is important in long-term planning.

In earlier stages, children used trial-and-error to solve problems. During the formal operational stage, the ability to systematically solve a problem in a logical and methodical way emerges. Children at the formal operational stage of cognitive development are often able to quickly plan an organized approach to solving a problem.”

Formal Operational Stage of Cognitive Development
By Kendra Cherry, About.com Guide
While today’s cameras allow you to point and shoot and come away with an image even for someone blessed with a visual eye needs to know how to manipulate the controls to give them an image that is superior.
Painters can include and exclude from the canvas much easier than a photographer can be selective with a camera. But both the painter and photographer must have a vision of what they are creating for the image to have impact.
Depth-of-field is a tool the photographer learns to use over time. How much will be in focus in front and behind the subject. There are varying degrees to which the photographer decides what is in focus and helps to create more impact by using this creative tool
Motion is either frozen or blurred in photography. While varying the shutter speed controls this the photographer can even choose to add motion to the camera during the exposure to keep a subject sharp and while at the same time blur the rest of the photograph.
Light is the greatest influence in photography. The absence of light alone means there is no photograph to be created. How the photographer chooses to use light helps improve the photograph. Sometimes they may choose to use the available light, light everything or only light part of the photo. They can also choose to vary the light values through out the photograph as well.  
Learning these technical tools and how to use them in conjunction with one another to create an artistic image requires abstract thought. 
Many photographers are masterful technicians who learn to use the aperture, shutter speed and light to give them different affects. 
Photographers who specialize photographing people must also master body language. Body language is everything from the very obvious smile down to the subtle pinky finger being raised while drinking tea.  To tell stories with people in the photos, the photographer must master the art of body language and all the technical skills of the camera to help make photos that impact the audience.
Photography is an acquired skill
The good news from all this is that even if someone feels like they do not have an artistic eye they can over time develop the skills to become an outstanding photographer. Those who do have an artistic eye must also study and learn how to master the camera and light to make photos or they will never be able to make photos—the camera will do it instead.
Great Visual Storytellers master these skills:
  1. Depth-of-field—You need to understand how the focal length of a lens and the lens opening in combination affect a photograph. After you understand how this works you need to then be able to look at a scene you want to photograph and consciously make a decision as to what you want in focus. 
  2. Shutter Speed—Not only does shutter speed help you freeze objects and blur parts of a photograph it can determine if you have color shifts in a photograph. You need to master how this impacts the photograph so you can choose how this tool with affect the photograph.
  3. Light—Seeing light and being able to capture the natural settings is a must. Once you have mastered capturing light as it is naturally, then you can manipulate it to help situations look more natural. You can add light to a scene to improve it. You can add light to overpower the natural light and make it what you want it to be. 
  4. Composition—Studying the masters in art will help you to know how to use compositional techniques to lead the viewer where you want in a photograph.
  5. Body Language—For the people photographer you need to understand what your subjects are communicating so you can control the message. You are able to anticipate the moment and capture the ones which help the message you want to communicate become clear and concise.
  6. Combining the techniques—After truly mastering each of these skills will you then be able to see how they are used in combination to create what you want, just like the painter who decides what will go onto the canvas.

While there are no prodigies, there are great photographers. Great photographers are self made through persistence. You can be a great photographer. You need only to master the skills and most importantly have a vision for what you want to appear on your canvas.

Portfolio Review

Tiare Nuualiitia (foreground) and Maile Powell listen to some of Stanley’s instructions for lighting project for School of Photography 1 in Kona, Hawaii. Photo by Dennis Fahringer

Having your work reviewed can be a real nail biter for sure. While I was teaching in Kona, Hawaii Dennis Fahringer took this photo of the students listening to me. 

Each one of the students would be talking to me later about how difficult the assignments were, but now on the other side of them are grateful for the assignment.

Joanna Pinneo (center) reviews portfolios during the Southwestern Photojournalism Conference

During the Southwestern Photojournalism Conference students, pros and amateurs all wanted some time to have their work reviewed.  Here Joanna Pinneo is reviewing a photographers work.

You can even see in the guys body language how interested he is in her opinion.

Ayssa Fleming has her work reviewed by Bill Bangham during the School of Photography 1 in Kona, Hawaii.

Masha Shulgina has her work reviewed by Bill Bangham during the School of Photography 1 in Kona, Hawaii.

Franziska Escher has her work reviewed by Bill Bangham during the School of Photography 1 in Kona, Hawaii.

Stanley’s Tips for a Portfolio Review

  • Let your work speak for itself. Please don’t tell people all about the photos, if the photo doesn’t do a good job of that on it’s own then maybe it shouldn’t be in the portfolio. If the person looking at the photos wants to know more they will ask.
  • Listen for what is not said as much as what is said. Often when reviewing a new photographer’s work I am looking desperately for something good in the midst of snapshots. I want to encourage you, but I don’t want you to think everything is great either. If I don’t say anything about a photo, believe me it is because I am not impressed. If you ask me I might try to find something good to say, however, if you are fishing for compliments your work isn’t that good.
  • Portfolio review isn’t about praise of your work. If your work is the greatest of all time then maybe you will get a WOW and I wish I had your portfolio comment. You should be looking for pointers on what to do next time to make the photo better. 
  • Millimeters are critical for great photos. One example of how a millimeter can make or break a photo is just the difference in the camera’s point of view and the subject’s eyes. Just tad bit high and you look down at the subject. Eye level with the subject is something quite different than just a little lower and looking up. As you get better this is what you are looking for the little things to improve your work.
  • There are stages of growth in photography. Early in your career you may need some really basic tips to help improve your photography. At this point someone talking to you about a millimeter of difference will not help you. You have a lot of work to do before they can talk to you about those differences.
  • Establish a relationship if possible. You need to pick people to review your work that you can go back to later and show them again. They will be able to then see your growth and frankly if you paid attention.
  • Ask always if you can follow up and how. Plan to go out and shoot as soon as you can after your review. Work on the tips they pointed out to you and then somehow get them to see your revisions in that portfolio. You might just need to show them one project you are working on and get their feedback.
  • You never arrive at the top. There is always room for growth. Always seek out feedback on your work for the rest of your career. If you are not growing then you are dying. 
Justin and Ashley Veneman (on right) review a students work during the student workshop at the Southwestern Photojournalism Conference in Fort Worth, TX.

Dave Black, center, reviews a students work while other students look on and learn from the critique. In the back is Patrick Murphy-Racey (Tennessee hat) and Bob Carey who are also leaders in the workshop.

Anacleto Rapping (far left) and Joanna Pinneo (far right) review a student’s work at the workshop.

This photo was take around 1:00 am. Dave Black stayed up until 2:00 am critiquing work of anyone who wanted his thoughts during the workshop.