Nikon 85mm ƒ/1.4D my go to portrait lens

 
Nikon D4, 85mm ƒ/1.4, ISO 800, ƒ/1.4, 1/160

Today I had a lot of fun helping a young actress build her portfolio. Her mother wrote, ” We need to get some Headshots done for my daughter’s acting webpage. She is an actress and has an agent here in Atlanta.”

You can see the young actress Kalyn Wood on her Facebook page here.

They needed four different looks. So we shot for about 4 hours and had some fun. The Nikon 85mm ƒ/1.4D was my choice for the headshots.

Sometimes I would white balance the modeling lights and not use the flash like in the photo above. I did this so I could shoot at ƒ/1.4. She is considering using this as the big photo you first see landing on her page. It makes sense because the horizontal format will work great on the webpage.

Nikon D4, 85mm ƒ/1.4, ISO 400, ƒ/1.4, 1/100

I think she did a great job of bringing some significant variations of expressions to create those different looks, and then I tried to light the photos to match the mood we were looking to produce.

Nikon D4, 85mm ƒ/1.4, ISO 400, ƒ/1.4, 1/125

We could get a completely different look by just changing some clothes and hair.

Nikon D4, 85mm ƒ/1.4, ISO 200, ƒ/1.4, 1/80

For this photo, I talked to her about the character Anna Bates in Downton Abbey.

Nikon D4, 85mm ƒ/1.4, ISO 200, ƒ/8, 1/200

For this photo with the red background, we talked about The Evil Queen/Regina Mills in the ABC series Once Upon a Time.

Nikon D4, 85mm ƒ/1.4, ISO 200, ƒ/8, 1/160

In this photo, I can easily see her as one of the Pretty Little Liars cast.

Nikon D4, 85mm ƒ/1.4, ISO 200, ƒ/8, 1/160

What is essential to know is that it is much easier to have something in mind together that you are creating than to pick up a camera and start shooting. Together we got some great images, but we both had to be on the same page.

She had to bring expressions and clothing for each of the shots. I had to light and compose the photos to help create that mood.

If you know anyone wanting to build a model or acting portfolio, send them my way, and we can have some fun creating something together.

Digital lets you shoot in manual mode and still be in the auto.

 
Fuji X-E2,  XF 55-200mm, ISO 3200, ƒ/8, 1/1000

I was shooting some photos of birds on our bird feeder when I realized I wanted a little more depth-of-field than wide open at ƒ/4.8, so I closed down the camera to ƒ/8. ƒ/8 made it possible to keep the bird in focus.

In Aperture Mode, the camera would typically drop the Shutter Speed to low to freeze the birds and look in focus. See, the bird feeder hangs and would swing a little as the birds land.

Now, if I chose Shutter Speed Mode and picked 1/1000, the camera would open up the aperture, which isn’t what I wanted.

In film days, you would typically not get this photo because I would generally have put ASA 100 [ISO 100] since the photo was in sunlight. So you would be stuck with whatever ISO you had put in the camera, but today with digital, this can change frame to frame.

AUTO ISO

The thing I love the best about digital is the Auto ISO. In this situation, I put the camera in Manual Mode and pick the ƒ/8 and 1/1000, and the camera’s Auto ISO will now select the ISO that gives me a well-exposed photo.

Fuji X-E2, XF 55-200mm, ISO 3200, ƒ/8, 1/1000

The Fuji X-E2 Auto ISO

When you choose the Auto ISO on the camera, the camera automatically selects a sensitivity between the default and maximum values. Sensitivity is only raised above the default value if the shutter speed required for optimal exposure is slower than the value selected for MIN. SHUTTER SPEED.

Suppose the value selected for DEFAULT SENSITIVITY is higher than that chosen for MAX. Then, SENSITIVITY and DEFAULT SENSITIVITY will be set by you to the value selected for MAX. SENSITIVITY.

The camera may select shutter speeds slower than MIN. SHUTTER SPEED if underexposing the pictures at the chosen value for MAX. SENSITIVITY.

I have set my AUTO ISO range of 200 to 6400. The one thing I do go to change regularly is the minimum shutter speed. I have it set for 1/500 sometimes for quick-moving subjects and then maybe change it to 1/60 for more fixed issues.

Let the ISO climb higher if you need to control the Aperture and Shutter Speed to get the photo. With today’s sensors, the higher ISO isn’t as noisy as in years past. I think you will agree that the cropping of the images above is acceptable noise for shooting at ƒ/8 and 1/1000.

Winter Storm and Epic Traffic for Metro Atlanta 2014

Winter Storm and Epic Traffic of 2014
[X-E2, XF18-55mmF2.8-4 R LM OIS, Mode = Aperture Priority, ISO 6400, 1/12, ƒ/5.6, (35mm = 27)]

Note: All photos were shot on the Fuji X-E2 and while I was sitting still I would use the Wifi connection and upload these to my Facebook page.

While many people want to judge the south as not knowing how to handle snow, this was not just a snow storm. The main reason for the traffic standing still in the south is the ice.

In the photo above you can see the ice all over this semi-truck and on the road. this is on Georgia 400 around exit 7a.  The truck continued to spin its wheels and slide toward me.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/15

The guy in the red KIA Sportage was spinning his wheels so much that if he did get traction would have rammed the people in front of him.  Most of the cars with front wheel drive and good tires were moving slowly and taking their time. The front wheels had enough weight from the engines to keep traction.

My trip started with excitement.

Fuji X-E2, 18-55mm, ISO 320, ƒ/5, 1/500 TIME 12:51 pm

I was doing some work down at Chick-fil-A’s corporate office. As I went out the door at 12:50 pm I took a photo of their billboard that is on their tour. Many people get up on the platform and get their photo taken with the cows.

Fuji X-E2, 18-55mm, ISO 800, ƒ/5, 1/500 TIME 12:51 pm

Many people also like to have their photo taken with Truett Cathy, the statue that is. If he is at the office he will meet with folks in his office. Well as you can see the cows and Truett had a light dusting of snow.

Fuji X-E2, 18-55mm, ISO 1000, ƒ/5.6, 1/500 TIME 12:54 pm

As soon as I drove out the the parking deck and got on the road I called the office and told them to leave now.  The roads already were slick. I could tell the snow was melting and turning to ice almost instantaneous.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/80 TIME 15:03 pm

This firetruck is going in the opposite direction to get to wrecks.  This was about halfway through my 11 hour commute.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/8 TIME 8:48 pm

I am assuming the sign had some lights burned out, but this should say:

JACKKNIFED TRUCK  

PAST HAYNES BRIDGE 

ALL LANES BLOCKED

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/8 TIME 10:45 pm

This photo here is on Holcomb Bridge Road, Roswell between Old Roswell Road and Warsaw Road at 10:45 pm or less than 1.5 miles from my house. It would take me another hour and half to drive that. When I approached Alpharetta Hwy I knew the road would go down a hill and back up. Knowing this was where most problems would be for vehicles, I turned right and no traffic at all for me to go north to Houze Way and take that road through the back of our neighborhood.

I got home at 12:05 am today. There is now color back in my knuckles from them gripping the steering wheel for 11 hours.  Seeing a semi-truck sliding towards you and you cannot do anything is enough to give someone a cardiac arrest.  Thankfully all those trips to the gym are paying off.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/8, 1/500 TIME 9:10 am

Sitting at home now enjoying my coffee and I can say relaxing as I see this out my front door. There are still many people still on the road stuck until the ice either melts away or DOT clears the roads.

Keep those affected in your prayers until the roads are all cleared.

The use of color is essential to the overall look of a project.

If you want your portfolio to go to a new level, maybe you should pay attention to color pallets [color schemes].

One thing that sets professional work apart from home videos is control of the color scheme. The color scheme is simply the collection of colors in the film or video: the clothes, the backgrounds, the props, the makeup, the locations, etc.

Deciding on a color palette before you shoot and sticking to it in production will work wonders for the production value of your project.

When you dress daily, you coordinate your outfits, or at least I hope you do, so they work together. For example, when you go to the office, you may have a color pallet that is quite different from what you might wear if you go to the town at night to a theater or clubbing.

You are creating a mood around you just by what you wear. Now, if you were in control of more than just your clothes, you could impact people’s attitudes as they come into contact with you. But unfortunately, this is what Hollywood does for the big screen and TV.

Besides using music to create a mood, they use color pallets. For example, watch this clip from Parenthood. See how close I came to picking the color pallet below it for what colors you see in each scene. Pay attention to the floors, walls, outside-the-window colors, and what each actor is wearing, and you will notice every little color is part of a theme.

When Hollywood goes back in time, I noticed they like to use a lot of blue. Take a look at the Lincoln movie trailer. See the colors below and see how close these match.

https://youtu.be/qiSAbAuLhqs

Another TV show that exaggerates the color palette is CSI Miami.

If you want to see a large selection of color pallets like above, go to https://kuler.adobe.com Click on Explore to see all types of themes, and they will even let you sort them from the most popular.

Traveling worldwide, I find specific locations with a more consistent color pallet, as in this photo from West Africa. I guess that when they make many of their clothes, they use the natural colors they can find, whereas, in the US, we import from all over the world, making things more eclectic.

In this scene above, it is like Hollywood coordinated the color pallet, but what is happening in Hollywood knows that they are just duplicating natural settings.

The most significant difference between what Hollywood is doing and what we might find in everyday life is being sure they control where the subject’s eyes go in a scene. For example, if one person walked into a set and was not part of the color pallet and everyone else was, then your eye goes to them immediately.

For example, the purple shirt is so different that your eye goes to that person.

In the photo of the two boys, they are both wearing blue, and the blue is also on the wall and the floor. Then you have the green and a touch of red in the boy’s pants, base, and flowers. So we have three colors in this photo that play off each other. Interior designers try to use three colors when decorating and what Hollywood does to help create a mood.

Sometimes you have to move a step to the right or left to recompose a photograph; that will help simplify the color pallet and make the photo stronger.

A color pallet is why going to the home of a family you plan to do a family portrait of and help pick out all the clothes and location before you show up later to do the shoot. If you do, you are managing the color pallet, which will make for a better photo.

The use of color is essential to the overall look of a project; like most other things, although the viewer may not be discussing the color palette after watching your work, you can rest assured that the color scheme – or lack thereof – most certainly affected their perception of it. For example, in big-budget Hollywood movies, a lot of attention is given to the color of even the finest detail, and with good reason!

How will your audience see your photos?

Print

When you shoot for print, especially a magazine, you will compose some photos for the cover. As a result, you leave a little more space than you would have if you had not been trying to make room for the text that needs to be on the cover.

Most editorial photographers benefit financially if the photo runs bigger and for how many images they use in the printed piece. Getting a double-truck [two total pages–side by side] also will give you more money. Here you have to consider the gutter, where the two pages are divided.

Sometimes they use one photo that bleeds off the pages or sometimes a grouping like here above. However, most designers are aware of the gutter and minimize this effect on the image.

Knowing you are shooting a photo story, most pros will do all they can to make the images so good that the editor feels the account must be on the cover and get extra pages. More variety helps the storytelling, and the photographer benefits from a more extensive paycheck.

The designers used to joke with my mentor, Don Rutledge; they thought he had templates inside the viewfinder to help him help them with the layout. But, really so many variables in situations that for any position, he usually had a cover shot, a double truck, some variation of the double truck, and then some tighter shots for impact.

Computer

Today the most likely place your photos will be on the web. The web is a horizontal space, and the general rule of photography is to fill the camera’s frame and watch the corners. The flat area also applies to your photo when filling the hole the designers are working with on the computer screen.

Here is how a vertical shot will look in the space for a designer. The horizontal layout for the desktop is the space it would fit within a video. The video format is about 16:9 in proportion.

Now the photo of the man here is the full 3:2 frame from the camera placed inside the 16:9 format with no cropping. While this is much better, the designer would prefer to fill their space, and so does the video editor.

I suggest shooting a little looser, giving some room for cropping. Some photographers will even put guides over the LCD screens to help them with their framing.

If you want to grow your business, be the guy that not only shoots for the use that the project is intended for but to meets other uses. Thinking beyond the immediate need is excellent stewardship because you can show the client that they can now use your photos for many different things, from brochures, newsletters, displays, PowerPoint, websites, and more.

Besides understanding the proportions, you need to consider what the audience uses to view your work. Knowing your audience is where your demographics can help you plan the coverage better.

You need to consider photos in a video on a website. Now, if your audience is mainly going to the web through a desktop or even laptop, you would shoot this differently than if they are using a Smartphone.

Shoot tighter if the experience is on a mobile device like an iPad or iPhone. For example, a panoramic shot with a person in the corner doesn’t read well on a 3″ screen. A smaller screen is where intimate photos of faces and objects are better for the space.

Think of how you tell time. Be sure the face of the clock fits the space to be able to tell the time.

As you can see, the photo of the watch makes it easy to tell the time.

As you can see in this photo, the watch and clock are about the same size. So if you want to see what time it is, get closer than this photo. In a video playing full speed on an iPhone, this image would lose its ability to communicate.

Are you asking the client, “What is the end use of the photos?” If not, you need to do this, and then you need to plan to be sure your photos make the best use of the space. 

The Importance of a photography community–that you belong to one

Ben Gray, Visual Manager at the Atlanta Journal-Constitution, was our keynote speaker. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/6.4, 1/110]

While I have tried for many years to get a large group of photographers together for mainly social time to get to know each other, it has been a struggle. Finally, however, this weekend, we had thirty-two people show up for our meeting of Christian in Photojournalism Atlanta/Southeast at our home in Roswell, GA.

I talked to my friend Ken Touchton, who said he wasn’t surprised because we had created a mini-conference.

Berrie Smith, a camera repairman, who works with Nikon and Canon regularly, was there cleaning people’s camera sensors and doing minor repairs. [Fuji X-E2, 18-55mm, ISO 2500, ƒ/8, 1/125 with a fill-flash set at -1 EV]

We had a keynote speaker, a devotional, camera repairs, and complimentary lunch provided by Chick-fil-A.

Dorie Griggs led our devotional time [Nikon D4, 14-24mm, ƒ/9, ISO 12800, 1/100]

Dorie Griggs reminded each of us while our jobs may isolate us from one another that, we do need to come together and rely on each other for support.

1 Peter 4:10
New International Version (NIV)
Each of you should use whatever gift you have received to serve others, as faithful stewards of God’s grace in its various forms.

The Bible verse she used to remind us that we should use our gifts to reconnect with one another was 1 Peter 4:10.

Craig Carden and John Bazee discover they have a great deal in common. Both have worked for radio stations and love music and photography. [Nikon D4, 14-24mm, ƒ/9, ISO 12800, 1/50]

What was different from most photography communities is we encouraged spouses and significant others to come to the meeting. The reason is they are part of our support system. Those who support photographers also have a lot in common; they found out.

Also, spouses enjoyed meeting their spouse’s colleagues and getting another perspective on someone else doing photography.

Peggy Frazeur and Carrie Carden spend some time getting to know each other for the first time at this meeting.  [Nikon D4, 85mm, ƒ/3.5, ISO 8000, 1/200]

Since I am a photographer more than a writer, I am hoping that these photographs are helping you see the emotional connections and the enjoyment people showed in being in this environment. Most everyone commented how this was a blessing for them.

Coming together and talking to others, and doing photography can dramatically affect our emotional condition. Then, of course, people brought their latest cameras to show each other. We all have to be a gearhead to be a successful photographer, and finding something that is helping us do a better job is so exciting we enjoy sharing it with someone. But, of course, the big hit with most folks was pulling out their mirrorless cameras and showing all these cameras will do that fit in a pocket.

[Fuji X-E2, 55-200mm, ISO 6400, ƒ/4.5, 1/50]

In December, the Atlanta Journal-Constitution laid off all of its ten photographers. They then gave each of them the first shot at one of their seven new multimedia specialist positions. As a result, they no longer have just a photographer position on their staff. Ben is also no longer just at the desk; he is covering breaking news daily. In this role, he is often the only AJC journalist on news scenes and is relied on to provide still photos, video, audio, and reporting with accuracy and immediacy. In addition, he frequently contributes video to WSB-TV and audio to WSB Radio during his work.

We asked him to walk through a typical assignment and how he gathers all this for all those outlets.

Ben’s Breaking News Workflow:

  • Get photos first: He arrived at the airplane crash and knew from experience that he would be moved back by the police as they established the boundaries. “I can get quotes later, but I cannot get the photos later.” So he has an Eye-fi card in the camera. He tags a photo, and the camera automatically sends the picture using his hotspot to the newspaper/radio/TV station, where they can pull those while he continues to work.
  • Shoot Video on iPhone: He shoots 10-second clips that they post to the websites, which WSB-TV can also use. He doesn’t have to send the video if they arrive with a crew.
  • Reporting Role: He gathers audio with his iPhone, and then he sends these interviews by email to the assignment desk, where they have a writer turn this into copy for the web.
  • Touches base with the assignment desk: They may call and ask for more.
  • Formal editing: He will do minor editing of images and captioning to add to the galleries online. He will also check the photos pulled from his pictures that were automatically transmitted. For example, he has pulled photos off the web that accidentally showed a dead person in an image.
Gibbs Frazuer is one of the people who shared their work. We have always given 2 – 5 minutes for anyone to share their work. The short presentation is an excellent way for all of us to see what each other is doing and also a perfect time to practice showing our work. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/8, 1/35]
[Fuji X-E2, 18-55mm, ISO 6400, ƒ/8, 1/25]
Our First Project
I wanted to introduce the idea of shooting a project where we could each find a person and tell their story. So I showed Chick-fil-A’s Every Life Has a Story to introduce the concept.
[youtube https://www.youtube.com/watch?v=2v0RhvZ3lvY]

We will all find a subject and put together a package which we will share at our next meeting. We are hoping to find a space to hold an event where we can invite the subjects and the community to see the stories and maybe for us to leave an exhibit of some prints from those stories.

We are enjoying our Chick-fil-A sandwiches and getting to know one another. [Nikon D4, 14-24mm, ƒ/9, ISO 12800, 1/200]

When we all arrived, everyone was meeting new people for the first time. In one way or another, we asked each other, “So what’s your story?” We all want to connect. We not only want to communicate by getting to know someone’s story, but we also want to share our story.

Dorie Griggs and Laura Espeut wanted a photo together. That is what friends do when they get together–smile. [Nikon D4, 14-24mm, ƒ/9, ISO 12800, 1/80]

Do you have a community? Look for a community to join and if there is not one you can find, then start one yourself.

Remember this is what God intended, as we see in 1 Peter 4:10 “Each of you should use whatever gift you have received to serve others, as faithful stewards of God’s grace in its various forms.”

Once you understand God’s grace, you cannot help but want to pay it forward through service to others.

So, when are you getting together with some photographers?

Ideas for working with NGOs & Companies using Storytelling

 
 
A friend wrote me, asking, “Were you ever able to make progress on ideas around working for NGOs?” Here are my comments to help him navigate this from what I have learned.
 
Today, it is easier than ever to become a photographer and publish. The gatekeepers are no longer in the way for the most part. So you can go and shoot a story and post it today for the world to see.  
 
Today worldwide travel for us is the easiest it has ever been—minus some visa and security issues. So the ability to go and cover the world is somewhat attainable. More accessible travel is why many today have traveled internationally compared to years ago.
 
 
What is the one thing stopping then most storytellers? The finance side. 

Matthew 6:26 reminds us “Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they?”

The scripture reference doesn’t mean you sit back; you are just like the birds—The early bird gets the worm.
 
NGOs
 
I think I have found that these NGOs tend to be run by people who are now experiencing an all-time high in volunteerism. Volunteers include the “GWC Guy With Camera,” which in a way, makes what we do more difficult to sell to the NGO.  
 
Today we need to create better PR for ourselves and what our work can do for them. We have relied too long on results our results and expected the person to get how this can help them.
 
You are also competing with untold numbers of great storytellers trying to do the same thing. They are not just GWC but great storytellers. So, how do you stand out and get the attention that can pay the bills?
 
 
ROI—Return On Investment
 
You need to do more than creating a portfolio of your work for an. You need to develop a portfolio of success stories. Stories are different from the portfolio. You illustrate in the report how there is an ROI. 
 
Two essential elements are needed to convince NGOs to spend money when they already get so much for free. First, they need to see numbers and testimonies.
 
If you can demonstrate how one of your packages helped increase the support for an NGO, then you have their ears. Once you have their ears, you give them the second punch for the knockout—a testimony from that client. 
 
 
Two ways for you to market
 
First, if you do an excellent job for a client, others will see it and ask who did their work. Also, often they are so excited they tell your story for you. Clients telling your story is the best way for your marketing to work. The second way is for you to capture this from a client and use this material to market to other NGOs. Maybe this is a brochure with photos, some charts showing giving going up, and then quotes from the clients.
 
 
 
Why do I not see this?
 
It is being done by many. Most of us stumble into it. We go on some missions trip or go volunteer and create a package for telling the story because we like to do that. Then we share it. A personal project is how Jeremy Cowart jump-started his business. He covered a trip to Africa and put a book together. He shared it, and then Britney Spears people saw it and asked him to work on their next tour.  
 
I think those who can find a great emotional story and invest in doing the story can best show their abilities for Storytelling and capture how this story helped as a change agent [ROI] may launch quickly into more NGO coverages.
 
I can tell you NGOs may not be the best place to monetize what we do with Storytelling. However, today the trend in marketing is to use Storytelling as the content for marketing. Here are some links about this today:
 
  1. Five Storytelling Strategies » Digital Marketing » 435 Digital Internet  
    Nov 13, 2013 – When it comes to the content on your site – whether it’s a weekly blog or occasionally updating a module on the homepage – it’s never a bad 

     

  2. How to Use Storytelling as a Marketing Strategy | Wired Advisor Blog Everyone has a story to share. We are shaped by our life experiences, both personal and professional. Sharing stories about our own lives and also the lives 
  3. The story as Strategy, How Social Storytelling Leads to Business | Social
    Social Media Marketing Podcast 69, in this episode, Gary Vaynerchuk Gary shares why Storytelling is essential for your business.
  4. 5 Secrets to Use Storytelling for Brand Marketing Success – Forbes
    Learn the five secrets that brand storytellers understand and use, and indirect brand marketing initiatives have become a strategic priority.
  5. Integrate More Brand Storytelling in Your Content Marketing Strategy Jun 26, 2013 – Discover how your company can easily integrate characters and stories consumers want to share into your content, as well as examples.

Shallow depth-of-field @ ƒ/9 can give great Bokeh

Nikon D3S, 28-300mm, 100mm ISO 200, ƒ/9, 1/200

When you first think of ƒ/9 you might think of the photo above where you can see from the lady to the sign behind her that most of photo is in focus, but that the far background of the building is out of focus.

I have written on this topic before in a different way and even created a video on it. Here is that link.

This is a little different perspective on the topic using the new Fujifilm X-E2.

Nikon D3S, 28-300mm, 300mm ISO 200, ƒ/9, 1/125

Now in this photo here you might not realize it too is shot at ƒ/9.  Two things helps with the silky Bokeh in the background. First, I am now shooting at 30mm verses 100mm at ƒ/9 and second the background is far enough in the background that it is out of focus.  It is about 100 ft from here.

Nikon D3S, 28-300mm, 150mm ISO 200, ƒ/9, 1/200

In this photo she is standing not too far from where she was in the first photo. However the shallow depth-of-field is helped by the distance from the building, the 150mm focal length.  

Same photo from above but just cropped

Now when you enlarge the photo you will see the eye closest to the camera is tact sharp. But the next eye is ever so slightly soft, but by her hair by her ear we are out of focus.  Things that affect the Bokeh of the background in photos

  • ƒ-stop: The wider the aperture with everything else the same, then the depth-of-field becomes shallow
  • Distance to Subject: The closer you are to your subject the shallower the depth-of-field will be.
  • Subject distance to background: The greater this distance the more likely the smoother look of the Bokeh

Fujifilm X-E2 with Nikon 85mm ƒ/1.4 using the Nikon G AFS lens to Fujifilm Fuji X-Pro1 X-E1 Adapter Aperture Control Ring to connect the Nikon lenses to the Fujifilm camera

ƒ/1.4
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16

All were shot on tripod at the very closest focusing distance that the lens would focus on the eyes at ƒ/1.4. The only thing I changed was the aperture and the camera adjusted the shutter speed to keep the exposure the same.

Approximately 100% view of the ƒ/1.4

You can increase your depth-of-field by just backing up from the subject and this will increase it for you. Conversely if you want a shallower depth-of-field get closer if the lens allow you.When you are super close you are not looking for BokehMacro photography you are actually needing a large aperture or the photo can look out of focus even when it is in focus.All these were shot with Fujifilm X-E2, Nikon 60mm ƒ/2.8 Micro 

ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/32

Carrying my Fujifilm X-E2 every where I go–for a good reason

Fujifilm X-E2 with 55-200mm, ISO 2500, ƒ/5.6 & 1/125 with OS turned on and handheld.

Being ready is why it is essential to take photos all the time. I tested my new FUJINON LENS XF55-200mmF3.5-4.8 R LM OIS on Sunday.

Cropped to about 100% from the photo above

My daughter’s choir was singing as well as the kindergarten class singing “Deep and Wide.” I was sitting on the balcony. You can get an idea of how far back I was with the photo below I took last year with my Nikon Coolpix P7000.

Nikon Coolpix P7000

Here is that photo above cropped at 100% approximately.

By shooting when I can for myself and not a client, I am building experience with the camera, and this results in my knowing what I can and cannot expect from the camera.

Fujifilm X-E2 with 55-200mm, ISO 2500, ƒ/5.6 & 1/125 with OS turned on and handheld.

I love the Fujifilm X-E2 from tests like this that I am doing. I am comparing it to the Nikon P7000 I carried all the time until I got the Fuji X-E2.

100% size cropped from the photo above.

I attribute the photo above blur to hand motion. I now know the shutter speed is up to 1/250 or faster when zoomed out. Better to know this now than with a job.

You need to know your camera like your stick shift car. You have to know when to make those adjustments so they are second nature, or just like a car, you could stall out and miss the moment.

I continue to play every day with my camera. I just went out one afternoon and played around near City Hall for Roswell, GA, near my house. So here are those photos for you to see as well. Can you tell I am having fun with this camera?

Fujifilm X-E2 with 18-55mm, ISO 640, ƒ/16 & 1/125 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 1250, ƒ/16 & 1/125 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 6400, ƒ/16 & 1/40 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 800, ƒ/11 & 1/125 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 1250, ƒ/11 & 1/125 with OS turned on and handheld, Macro mode.
Fujifilm X-E2 with 18-55mm, ISO 400, ƒ/11 & 1/420 with OS turned on and handheld.

Explore with your subject

Nikon D3S, 85mm ƒ/1.4, ISO 200, ƒ/1.4, 1/5000

A couple of years ago, I made environmental portraits of the students in the executive MBA program at Georgia Tech. I would take about 15 minutes to walk around with the student at the campus and create the photos you see here.

The setup for all these photos is pretty simple and not all that different in each image.

KISS Method

Keep It Simple Stupid: I think TTL off-camera flash is effortless to use. If it is too bright, turn down the flash by adjusting the flash compensation to -1, -2, or whatever. If too dark, go in the opposite direction of +1, +2, or more.

You can make the background darker by underexposing the camera by adjusting the exposure compensation the same way you did the flash, except this time, you change the camera and not the flash.

Nikon D3S, 85mm ƒ/1.4, ISO 1000, ƒ/1.4, 1/8000

I cranked up the ISO a bit in this photo to lighten the background, and the flash is just winking.

Nikon D3S, 85mm ƒ/2.8, ISO 200, ƒ/1.4, 1/125

The basic setup never changed, and I moved around to get the three different looks. However, I still wanted some variety, so we moved.

Nikon D3S, 85mm ƒ/1.4, ISO 200, ƒ/1.4, 1/1600

I moved him to the street from the courtyard. I thought this caught the “executive” look a little better.

Nikon D3S, 85mm ƒ/1.4, ISO 200, ƒ/1.4, 1/1000

I like the shallow depth of field so that I am helping the subject “pop out” from the background. Shallow depth of field is a way to take a busy background and still use it but subdue it.

Nikon D3S, 85mm ƒ/1.4, ISO 200, ƒ/1.4, 1/1600

Other than changing locations and keeping the depth-of-field shallow, I kept the camera below eye level. This is because I wanted the audience to look up to him. This is my way of trying to create a sense of authority.

While the flash helped add catch light in his eyes and give some shape to his face, it also had another benefit. It assured me that I was using a full spectrum of light, helping me render the best skin tones.

Take your camera, find a subject, and shoot your own “executive” portraits.

Successful photographers focus on two things others do not

Benjamin Franklin says he wasn’t sure if the painted image carved on the chair used by George Washington during the Constitutional Convention was a sun rising or setting. However, when the Constitution was finally approved and signed, he declared, “I have the happiness to know that it is a rising, not a setting sun.”

What Changed?

The key to seeing things in a positive light, like Benjamin Franklin, is to focus on the future and not on the past.

I cannot go to a single photographer forum online and not see a lot of heated, sometimes bitter debates going back and forth about how things used to be and how something has now changed.

Instead of people looking at how to go forward, they are looking for whom to blame.

Years ago, executives didn’t write their letters. They didn’t even have a typewriter. They had secretaries do all this for them. They dictated their letters and memos. I remember this being the case until the mid-1990s for many companies.

Then came along computers. It took a while for their adoption in the workplace. Executives today do all their correspondence for the most part and may have someone help if they are that busy and have the funds for the assistance.

I can see more and more executives in the future doing even more due to the ease of the technology to create.

Where professional communicators are going to be finding work in consulting and helping executives but doing the day-to-day work will disappear.

The problem is monetizing the new model of the future–whatever that will be, I don’t know.

Facebook is one of the ways I get a lot of news, and no, it isn’t all from newspapers. Instead, many are from Twitter feeds and people posting their content–what Patch is doing.

We need to quit bitching and complaining about the model we know is disappearing. Instead, we need to be relevant and create content that commands attention. Just because you have been shooting for 20 years does not mean everyone needs to hire you to accomplish their goals.

Stop overanalyzing what was and focus more on the clients and your audience. We have focused way too much on the subject and gear and forgotten what we create is for–an audience and a client.

1) Audience and 2) Clients

To get a job as a photographer, you must have a portfolio showing that you are what clients need to solve their problems today and in the near future.

You must first master the craft before people can hire you to shoot. The problem is that this is where most photographers stop in their growth.

Like their clients, most photographers’ problem is understanding what their audience wants and needs. Unfortunately, too many photographers focus so much of their attention on a subject that they are unaware that the audience doesn’t care about it, or just as bad that photographers are crowding the market shooting that subject that it is almost impossible to monetize that subject.

Great examples of two markets saturated with photographers are weddings and sports. Even with many in the market, it is not to say you cannot be highly successful, but just hanging a shingle out and offering photographic services will not make you successful.

Successful photographers are migrants.

A migrant is an itinerant worker who travels from one area to another in search of work.

If you are also willing to learn another language, you open the door to even more possibilities with your camera. While one town may have its market saturated with photographers, other communities worldwide do not. If you desire to stay where you are in the house you grew up in; then you may have to become quite creative to find or create the market for your talents.

When the Audience and Client are the same, this is when you have a Business a Customer [B2C] model. For example, B2C is the wedding photographers and most portrait photographers market.

When the Audience and the Client are separate, this is the Business to Business [B2B] model for a photographer. B2B is where the media, corporations, and small business use photography to reach an audience.

Whoever pays you is the Client. The audience is not always your Client.

The thing that is appealing about B2C is you only need to understand one group rather than two when doing B2B.

When you are staff, it is pretty easy not to understand the industry’s business side. Someone else, your employer, is taking care of it for you. Not knowing your business’s audience is where the lack of understanding can mean that your employer turns many of your ideas for subject matter down. For example, you fail to understand how this story has a Return On Investment. As a result, the idea you pitched lacks an audience. Start thinking like the publisher and connect with your audience; you will help grow the business.

“If you build it, they will come.” — Field of Dreams (1989)

“This is bad advice from the movie Field of Dreams. Why bad advice? Most startups focus so much on the product (building it!) that they forget about customers and network: Customers, because they need to pay for it, and network, because without a community of power fans around your startup, it will be very hard to scale.” — Scott Case, chief executive of Startup America and founder of Priceline

I love the movie Field of Dreams. There are some great things to learn from the movie, but I would have to agree with Scott Case on the odds of this model working.

Your success will determine if you are forward-thinking like a chess player. While you might still be starting, you must think and move ahead.

You can still have problems just like a chess player. But by planning and thinking about the Audience and Client, you are now focusing on your revenue stream and not just the fun of shooting photos.

How to make the change

Let’s say you have been photographing a subject for years and are an expert on it. For example, maybe you have been covering coffee as I have been.

Take a moment and write a list of all the people who would be interested in your subject. For example, here is mine on coffee.

  • Coffee Farmers
  • Coffee Cooperatives
  • Coffee Roasters
  • Restaurants
  • Coffee Industry
    • Trade Organization
    • Media for the market
  • Coffee Drinkers
You get the idea that there could be more to add to the list. So first, go back through the list and distinguish if a client or the audience. Further, break it down by identifying the audiences for each Client.
Here is an example:
  • Coffee Farmers’ Audience
    • Coffee Roasters
      • Cooperative
      • Local
      • International
    • Coffee Drinkers
      • They roast and sell directly
      • Providing content to their clients that help them connect to their customers [drinkers]
After doing this, you go and start looking for content that will help them. Then, when you pitch this to those clients and audiences, you do so with a hook that addresses the simple question-WHY?
The second question that follows the Why?–is the How? Question. How will this help the audience and connect with them?
Focus your action plans for your business on the audience and the Client to succeed.

Photographer how’s your memory?

I bought some of the Case Logic hard drive cases, which I continue to use today. The cases outlast the drives.

Here is a link to those cases in Case you want them.

I haven’t done a lot of research on hard drives. I have read about which ones are doing well, but when I get to the store, often there are newer models available.

My preference is the firewire connection hard drives. But with the prices on these so high and the availability of choices so low, I have only a few of the firewire drives. Most of my drives are the newer USB-3 or, the older USB-2.

Whatever at the time is the largest hard drive with a competitive price is what I have been buying, and most of the time, I drive to Frys, which is close to my home in Roswell, GA.

Two external hard drives

When I travel, I always carry two external hard drives. One is a complete mirror backup of my Macbook Pro 15″ computer. I use SuperDuper! For cloning my hard drive. I do this about once a month. Usually, my next trip is what prompts me to back up

If I ever have trouble on the road, I can do a complete reinstall from this hard drive or launch from this hard drive by holding down the option key when starting my computer. In addition, by choosing the external hard drive, I can now run off of it. The advantage here is now I can run DiskWarrior to clean up any problems on my hard drive while I am on the road.

I have had to save my bacon more than once with this backup.

The other hard drive is for images and photos. So I ingest all my memory cards using PhotoMechanic; the destination is always the external hard drive.

I will leave you with one last tidbit. I also have CardRaider Photo Recovery when I need to recover images from my memory cards. I accidentally mixed cards up and formatted them before I ingested them. I thought I had one card in my hand and had reversed them. This software is for the Mac.