Love the Nikon D4 & Sigma 120-300mm f/2.8 DG OS HSM for Football

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM w/ Sigma 2x, ISO 36204, ƒ/5.6, 1/2000

There are a few things that are fundamental technical aspects of a fantastic sports photo:

  • Well exposed
  • In focus
  • Sharp

The Nikon D4 and the Sigma 120-300mm ƒ/2.8 DG OS HSM with the Sigma 2x converter helps me to get the moments and be just right.

The Sigma 120-300mm f/2.8 DG OS HSM Lens is a telephoto zoom lens featuring a fast, constant f/2.8 maximum aperture. This lens is the first designed under Sigma’s new Sports line, making it well-suited for fast-moving subjects such as wildlife, nature, aviation, racing, and other similar situations.

The built-in OS (Optical Stabilizer) system reduces the appearance of camera shake up to four stops, resulting in a long lens that You can easily use handheld and under low-light conditions. The OS system has two modes; one for general shooting applications and one better suited for panning shots of moving subjects. You can further adjust the OS system to suit your needs through the USB Dock.

 
Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM w/ Sigma 2x, ISO 36204, ƒ/5.6, 1/2000 [While this is a little noisy for my tastes, the dynamic range is pretty good, and the critical thing is it is in focus, sharp and well exposed]

The Nikon D4 camera features a 16.2Mp 36 x 23.9mm CMOS sensor with Nikon’s FX format and the EXPEED3 image processor. As a result, the camera can now extend ISO sensitivity as low as ISO 50 or as high as 204,800 with a standard range of 100-12,800 ISO. Additionally, continuous shooting in FX format for up to 200 shots in ten frames per second ensures the camera will not miss the decisive moment.

D4’s AF sensor utilizes 51 strategically placed AF points designed to capture subjects as you choose: by working together like a net to capture moving subjects or for pinpoint accuracy. Use a single AF point to home in on the exact place on your chosen subject. The 51 AF points focus on an impressive low light level of -2 EV.

D4 aligns its 15 cross-type sensors in the center to detect contrast for both vertical and horizontal lines with lenses f/5.6 or faster. The five central points and three points to the left and right in the middle line are compatible with f/8. With the Sigma 2x converter, the lens is ƒ/5.6, and the D4 could still autofocus in a low light level of -2 EV at ISO 100. Of course, I had a lot more light than that in the Georgia Dome.

 

 

ISO 51200 & 25600 with Sigma 120-300mm on Nikon D4

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM w/ Sigma 2x, ISO 51200, ƒ/5.6, 1/2000

Chick-fil-A Kickoff

Last night I had the privilege to shoot the Chick-fil-A Kickoff Game between Ole Miss and Boise State. Ole Miss pulled away in the second half from Boise State for a 35—13 victory.

I enjoyed shooting with my Sigma 120-300mm f/2.8 DG OS HSM. I also added a Sigma 2x converter to my gear, which gave me a 600mm ƒ/5.6 lens. So I made the photo with that combination.

Yin-Yang

Photography has more to do with Yin-Yang than anything I have ever encountered.

Yin-Yang is a concept used to describe how opposite or contrary forces are complementary, interconnected, and interdependent in the natural world and how they give rise to each other as they interrelate.

When you change any one of these three, you must adjust one of the other to keep a proper exposure. The Exposure Triangle is the trade-off made all the time in photography.

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, ISO 16000, ƒ/4, 1/2000

Sports Settings

Here are my default sports settings for a game with these three:

  • Aperture—While I love the Bokeh at wide open, I tend to shoot around ƒ/4 or ƒ/5.6
  • Shutter Speed—1/2000 If maxing out to the highest ISO, then any need for more light, the shutter speed will drop below 1/2000 when using the Auto ISO settings.
  • ISO—Auto ISO 100-12800, but for some of this game, 100-51200
Warning about Auto ISO—you cannot use manual and keep a constant setting. The meter will adjust the ISO up and down. To indeed shoot Manual Mode, you must turn off the Auto ISO.
Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, ISO 7200, ƒ/2.8, 1/2000
I love the Bokeh on the Sigma 120-300mm, and with the Ole, Miss dancer opened up to ƒ/2.8. However, for action, I find while I love the ƒ/2.8, I prefer a little more depth-of-field to keep them tact sharp.

Freelance Professional Photographers: Your Spouse is THE KEY to success

My parents, David and Bonita when were dating

Growing up, I watched how both of my parents supported one another. We hear that children do better when raised in a two-parent home.

Children raised in intact married families:

  • are more likely to attend college
  • are physically and emotionally healthier
  • are less likely to be physically or sexually abused
  • are less likely to use drugs or alcohol and to commit delinquent behaviors
  • have a decreased risk of divorcing when they get married
  • are less likely to become pregnant/impregnate someone as a teenager
Your business is like a child.
So just like children who benefit from a loving two-parent home, your business will flourish when your spouse is supportive of your business.
If you came to me about becoming a freelancer, I would ask you one of the first questions: “Is your spouse supportive of what you’re about to do?”
My biggest cheerleader and support is my wife, Dorie.
The difference between a supportive spouse and one questioning you all the time while trying to make business decisions can cost you your business.
Dorie’s father was an entrepreneur, and she is very comfortable with this role. However, not everyone grows up in the family of an entrepreneur. There is a vast difference in how your household life will be when you have an employer versus running your own business.
All the books on parenting emphasize the importance of the two parents being on the same game plan when it comes to raising their children. As a result, you learn to support the other parent’s decision even if you disagree.
If you disagree, you talk about it, and the next time something comes up again, the game plan may be different, but that is because you discussed it.
Very little good comes from disagreeing with another parent’s decision in front of a child. It is not that this should never happen, but you understand the consequences of this disagreement when the other spouse decides you were not there.
It’s a Two Way Street
There is a Bible verse that I think every couple and friendship needs to know. Romans 12:10 “love one another with brotherly affection; outdo one another in showing honor.”
Whatever your spouse feels passionate about is something they need support doing. Dorie has a calling to help journalists. Here is an article on her ministry to journalists.
Click here to read the article.
Dorie also has a passion for helping the parents of The Citadel. She knows from first-hand experience that parents need more information on how they can support their children. So she has created a blog to help those parents.
Click here to go to Dorie’s blog
Earning Support
You cannot go to your spouse and say I need you to support me, and immediately get that support. But, I can tell you a secret about how you get it—Give It!
Here are some ways that you can first be supportive of your spouse:
  • Respect your spouse’s personal/business decisions
  • Demonstrate you have faith in them
  • Please give them your shoulder on those days when they have a sinking feeling
  • Work with your spouse on balance
  • Celebrate your spouse’s successes
  • Don’t try and Fix-it [As a male, I struggle with not trying to jump in and fix things]
  • Listen well
  • Be Truthful, Genuine, and Credible with your encouragement. But don’t embellish your comments of support.
Dorie has done an incredible job of making me feel like I can be a successful photographer. This support has been the essential key to the success of my business.
No Spouse
If you are not married and not even dating, you still will need some support from a community. I would encourage you to have a good friend who can help with some of the support married people get from one another. You need some support, or you will find it more stressful than it should be.
The Foundation
When we think of building, we start with a foundation. There are two types of building foundations: shallow and deep foundations.
Both are there to create the support that makes firm support for the rest of the building.
I would argue that the foundation I have built my business on comprises two components. The first is my faith in God and the second is my spouse. Together the two of these have interlocked to give the business what it needed to grow.
On top of the foundation, you need solid business practices and a portfolio that will invite clients to want to work with you.
Supportive Discouragement
If your spouse has some weaknesses that you think will lead to disaster, encourage them to either take classes to learn more about this or maybe they need to outsource that area of the business. Perhaps you, as the spouse, may want to take on helping them because this might be something you are skilled in.
Don’t tell them they are going to fail. Instead, tell the spouse how they will be successful if they address what you think might be holding them back.
Seek out wisdom
The best time to seek out the wisdom of others is before you start your business and not after. Start with your spouse talking about your dream. Find a good mentor/coach, and remember to listen. If you find little or no support, this is a good sign that you need to assess your friend’s and spouse’s concerns.
Be a good parent as well.
Our daughter Chelle
I am very proud of my daughter and love to talk about all she does to anyone who will listen. She loves the theater, and while most parents tell their children how difficult it is to be successful, we encourage our daughter. Sure we don’t sugarcoat it, but we took her to Hollywood to see behind the scenes and see all the creative careers.

Encourage people to pursue their dreams. Remember that often chasing the goal leads to a very successful career, not always exactly as they dreamed. However, the chasing gets them to where they will be successful.

During the Emmy Awards Monday night, Jim Parson’s thank you reminded me of how important support is in our success.

Jim Parsons won his fourth Emmy for his work on The Big Bang Theory. Parsons took the opportunity to thank his father in his speech. Mickey Parsons, he said, died before all of the craziness attached to Big Bang Theory began. He thanked his father for supporting him.
“He encouraged me to be an actor. He never discouraged me from being an actor, and in a career that hinges so much on confidence a lot of the time, that was a great gift,” Parsons said.
I highlighted the part because it is just as applicable to any of us. Support builds confidence.

Seeing the light vs Creating the light

Fuji X-E2, 18-55mm, ISO 6400, ƒ/4, 1/500

Are you impressed with my photo of Jack Sparrow? The way you get this photo is no different than shooting any concert tour or theater production.

Set the white balance, get good exposure, and then wait for a great moment.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/200

Just like everyone else at PhotoShop World, I most likely took the photo above and this one below.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/4, 1/450

Someone else found all the props, the model, and the backgrounds and then even set up all the lights for me. All I had to do was set the white balance and the correct exposure. The models would even stay in a pose for minutes to help anyone figure out a “moment.” So there are no “kudos” for this photo if you show it as your work.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/105

Everyone with a camera is going crazy shooting photos that, if they showed to any art director and hired to shoot the same photo themselves, they would most likely have no clue on how to make it happen.

Photography is writing with light, and when you have nothing to do with the light, you do very little with the photograph, especially in these situations where without the lights, there is no photograph.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/250

What can you learn from these setup situations?

  • Find interesting subjects
  • Find interesting settings
  • Use light creatively by not lighting everything equally in the photograph.
Fuji X-E2, 55-200mm, ISO 6400, ƒ/5, 1/140
While we all will continue to shoot stage productions and concerts, remember if you are a photographer showing your work around and have nothing demonstrating your ability to create this lighting setup.
Learn how to create these photos rather than just getting them well exposed.

Silhouette AND Reveal @ The College Football Hall of Fame Grand Opening

Nikon D4, 14-24mm, ISO 100, ƒ/8, 1/200—off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger With Flash at Full Power

Nikon D4, 14-24mm, ISO 100, ƒ/8, 1/200 NO FLASH

I covered the Grand Opening of the College Football Hall of Fame downtown in Atlanta, Georgia. Here are a couple of photos from today.

To me, there is a HUGE difference between the two photos above. Don’t you agree?

I think your eyes go to the cheerleaders’ faces much more with the flash photo, where I believe the background draws your eyes first.

I like keeping my flash off-camera all I can, and my assistant is holding the flash off to my left and the Cheerleaders’ right.

Here are more examples of using the same technique. The only thing I am watching is keeping my shutter speed sync below 1/250 since I am using the Neewer flash, but I can shoot 600 full-power shots on one fully charged battery. I carried a second battery and barely had to use it.

Nikon D4, 14-24mm, ISO 100, ƒ/11, 1/200—off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger with flash at Full Power

Chick-fil-A is the primary sponsor of the College Football Hall of Fame and was there giving out samples of their new grilled nuggets. Finding someone with a full tray took me a while because they were going so fast at the event.

 Here I wanted to capture them and the CFHOF behind them. 

Nikon D4, 14-24mm, ISO 100, ƒ/11, 1/200—off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger with flash at Full Power

The Georgia Tech cheerleaders and the lady sampling the grilled nuggets were in the shade, and I “Revealed” them with the flash, or they would have been a “Silhouette.” 

Nikon D4, 28-300mm, ISO 125, ƒ/8, 1/200—off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger with flash at Full Power

The light was splitting their faces on the stage where speakers like Bill Curry and Mayor Kasim Reed spoke. One side in direct sunlight and the other in the shade. Using the same small hot shoe flash, I had my assistant stand straight in front of them and give them a classic fill light. 

Nikon D4, 28-300mm, ISO 160, ƒ/8, 1/200—off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger with flash at Full Power

For my departing shot of the day, I saw the ESPN College Game Day bus, but to show the College Football Hall of Fame behind it was challenging; the side of the bus was in the shade, but the CFHOF was in direct sunlight. So I just put the flash on the ground near the bus [I let my assistant go just before I saw this], and on full power, I was able to light up the Sports Anchors of the show on the side of the bus.

[NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 100, 1/250, ƒ/8, (35mm = 19), off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger with flash at Full Power]

A week from today, the show will be live inside the CFHOF during the Chick-fil-A Kickoff game between Alabama and West Virginia. Why did I use flash so much today? I knew there were be a LOT of media there. My client will be able to see their coverage as well as mine. Like the game of football, I needed to win the quality coverage contest and could not afford ever to have others outdo my coverage. I can afford them to match it, but I can’t afford other media to show better coverage, and I continue to be hired by clients.

Are you a Br’er Rabbit Storyteller working with nonprofits?

Project Gutenberg’s Uncle Remus and Brer Rabbit, by Joel Chandler Harris

I grew up listening to the stories of Uncle Remus about Br’er Rabbit. In case you are not familiar with the character of Br’er Rabbit. Br’er Rabbit is a trickster who succeeds by his wits rather than by brawn, provoking authority figures and bending social mores as he sees fit. The name “Br’er Rabbit,” a syncope of “Brother Rabbit,” has been linked to African and Cherokee cultures.

You see, the animal trickster represents an extreme behavior that people may fall under to adopt in extreme circumstances to survive. The trickster’s admiration is lacking in most situations. He is an example of what to do, but also an example of what not to do. We summarize the trickster’s behavior in the typical African proverb: “It’s the trouble that makes the monkey chew on hot peppers.”

Working for Free

Some excellent reasons to work for free or donate your time and resources to a nonprofit organization involve being altruistic is the best possible reason to give your time and resources.

Another great reason to donate is that when you offer to give your storytelling skills to an organization, you are more likely to remain more in control of the project and, therefore, more likely to do the best possible work you can produce. So many personal projects I have seen done through my career by photographers were selfless acts of kindness.

Countless people launched their careers by giving away their work for free and using these projects in their portfolios to get jobs.

I do encourage those who have no actual portfolio. Donating your time is the way to build your portfolio. You find something you are passionate about, which often might be something that a nonprofit could use. The advantage of doing this early in your career is they can provide you the access necessary to put together a project that will showcase what you can do for clients in the future.

Almost no one will spend the travel expenses and pay someone to produce something if they do not have GREAT examples.

Business Model Changed

Just a few things have impacted photographers doing work for nonprofits.

  • Stock Photography—years ago, a photographer could go overseas and shoot and then return and put images into a stock agency and make some pretty good money. It was widespread for photos to sell from $350 up to many thousands of dollars. Today with people giving their images away for free through things like Flicker, this has dried up as an income source. It was not uncommon for a photographer long ago to shoot for free and, due to the access, make money and lots of money from the stock sales later. This revenue stream dried up years ago.
  • Digital—Before digital, you had to know photography skills because you would have to wait till developing the film to see the results. Now with the LCD on the camera, you can see immediately and adjust instantly to be sure you have a photo. So, where many organizations would pay for a pro just because they needed to know they had pictures; now, with digital, they look on the LCD for that confidence.
  • Good Enough—this is what social media has contributed the most to our industry. People see that OK videos and photos are getting traction and that great images and videos do not always get more traction for going viral.
  • Baby Boomers Retiring—many people are retiring and want to donate their time to doing something worthwhile. Most nonprofits welcome volunteers with open arms and enjoy the free rather than worrying about the quality.

What to do & What not to do

When working with nonprofits, I see more and more Br’er Rabbits. A good number of storytellers will contact a nonprofit and even do outstanding work that doesn’t really help sustain the nonprofit in the long run.

I have watched most of my career the demise of professional communicators and especially those in journalism. Yet, loving what we do and feeling called to do it has many of us behaving like Br’er Rabbit. Br’er Rabbit represented the enslaved Africans who used their wits to overcome adversity and to exact revenge on their adversaries, the White slave-owners.

I am not seeing anyone planning revenge. However, I see people do about anything they can to do storytelling.

Many hobbyists/pros do not need income from their photography because they make perfect money in their full-time jobs. Some of these are even professional communicators on the staff of a corporation or even a newspaper, for example.

Many people love to travel and see the world. However, they are looking for another stamp of a country they have never been to that they can add to their passport.

What is happening with these people is they are not thinking long-term for the organization. Instead, they are donating of their time and resources.

Managerial Accounting

I think you need to understand this business concept to do the right thing when offering your work for free to an organization.

Too many people see the savings they are providing an organization by donating their time and resources. Donating time is how financial accounting tracks things, but those organizations that mature over time do not use this method only. Instead, they use managerial accounting methods in addition to their organization.

MANAGERIAL ACCOUNTING:
Provides information to make decisions regarding the future
Relevance of data is emphasized over reliability
Focuses on timeliness of information
Reporting is focused on parts of the organization such as departments or
divisions and not on the organization as a whole.

Here are just a few things that organizations address due to using managerial accounting procedures:
1. Just in time inventory
2. Total quality management
3. Enterprise resource planning
4. Supply chain management
5. Benchmarking

Do you want your donations to an organization to multiply or help temporarily? Most would like to know they were helping long-term.

Think about each of these when you donate next time to an organization:

  1. Is my donation helping the organization meet its mission statement?
  2. When I stop donating, is what I am doing for the organization something that they need to continue and pay for this service in the future?
  3. Am I helping educate the organization on how to use my gifts in the most effective way possible?
Storytelling is core to successful organizations.
I know that every organization must do compelling storytelling of what they are about at the core, or they will not be successful. Therefore, I do not mind donating my time as I choose, but I highly resent organizations that expect all storytellers to contribute to their organization.
I believe organizations need to have a budget for their ongoing storytelling. They need to have materials that they can use over and over that help tell their story. They need to tell new stories of how they are continuing to make an impact, or sooner or later, they will start to die.
Just like movie studios must continue to come out with a new movie to get people to spend their money to watch, so must organizations continue to tell their stories, or people will stop being a part of their organization.

Time to Pay for Free

There should come a time in a nonprofit’s growth where they will slowly mature by doing the right things. The day will come when the organization cannot just rely on Free.

I know one organization that has built up and continues to rely predominantly on free, and all their staff raises their support to work for free full-time. When I worked with them, I was trying to give a presentation, and the room I was too used to was not usable. Due to improper wiring by free volunteers over the years, the rooms were not just unusable but fire hazards.

I couldn’t get the work sent to my email accounts for one year because all the free IT support didn’t wire their campus correctly.

Even Habitat for Humanity knows it must rely on professional electricians and plumbers to meet the code for their homes. So maybe more organizations need to realize a coding standard for good communication.

Here is the bottom line for organizations that do not create a plan to budget for storytelling.

Organizations need to budget for communications, or they will die over time.

I thought I would end with the sunset.

Photographers do you finish strong everytime or just when you are inspired?

 
Lisbon, Portugal [Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/50]

There are two photographers that my friends talk about a great deal when talking about the type of photographers out there. One is my friend Ken Touchton and the other person I will not mention.

The unmentionable photographer is one of the best shooters we have ever known, but we all qualify that statement if he is into the subject.

If the subject didn’t excite this unmentionable photographer, he shot so poorly that anyone with a camera could outproduce the photographer. One time the photographer was so unmotivated that the actions he took are still legendary.

While in Europe, the unmentionable photographer became so disenchanted with the story that he called the home office of the organization he was on staff with and told them his camera gear was all stolen. Miraculously the equipment showed up just as he left for the airport to return home. Rather than staying and finishing the coverage, he came home.

Lisbon, Portugal [Fuji X-E2, 18-55mm, ISO 6400, ƒ/22, 1.1 sec.]

All of my friends that know Ken Touchton respect him and his abilities. I hired Ken to shoot a job for me, and many of my editor friends have done the same thing. All of us talk about the consistency you get with Ken.

Ken Touchton

No matter how mundane or exciting the coverage, Ken Touchton puts the same amount of heart and sweat into each project.

The words we use to describe Ken is dependable, consistent, and a good friend.

Even the way Ken dresses is consistent and professional for every situation. If a coat and tie are the dress code for a funeral, he wears them. No matter the case, you will notice that his clothes always look freshly pressed and clean.

It probably takes more talent and skill to finish consistently, as Ken Touchton does with every job than to be a hit-and-miss photographer.

Lisbon, Portugal [Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/90]

Tips to be consistent:

  • Listen to the client’s needs
  • Listen to the subject and find their story—not your story
  • Know your audience 
  • Know your gear
  • Build in redundancy in your gear
  • Build redundancy in your coverage
  • Use checklists to ensure you have it all
  • Study the great photographers
  • Study your competition
  • Treat every person you encounter with honor, dignity, and respect
Here is Ken Touchton with one of his mentors Tom Kilpatrick catching up over dinner.

Storytellers know thy purpose

The shortest distance isn’t always the best route

Know Thyself

“He who knows others is wise; he who knows himself is enlightened.”
― Lao Tzu

We are familiar with the saying to “Know Thyself” because you can accomplish so much more through understanding yourself. You learn your strengths and limits, which will help you navigate life.

Storytellers need to know the purpose of a story. Why were you hired to tell a story?

I have been driving many times in the Atlanta traffic when suddenly my GPS will alert me to traffic and alternative route to my destination.

Knowing your destination, the GPS helps you navigate and get you to your location in the quickest amount of time.

Great Teachers

One of the best examples I experienced over and over growing up was when a student would ask my teacher a question. The teachers I have the fondest memories of are the ones who could take almost any question and use it to engage the class on the subject. My worst memories are of the teachers who, like in the top illustration, use that red-line approach to everything. They somewhat answer the question but are quick to say something like, “now let’s get back to …” and shut down the class in the process.

The difference is that great teachers know their subject well and know their lesson plans. They see the goal and purpose of the lesson that day. They are willing to take a question and, like the GPS, use this alternative route, which is better than proceeding into what will be a traffic jam.

Great Storytellers are Great Listeners

I have traveled with some of the best writers and loved learning from them. These were all journalists, and we were working together on stories. I was capturing the still images and video while they were responsible for the text.

I have also watched too many writers who are so self-absorbed with where they think the story should go that they kill the story. I remember more than once with more than one writer where they asked a question and didn’t listen either with their ears or eyes and missed the traffic jam taking place and hearing the subject helping to redirect them to an alternative route.

 
Chick-fil-A Cow out on Marietta Street in front of the new restaurant adjacent to the College Football Hall of Fame. [Nikon D4, 14-24mm, ISO 800, ƒ/8, 1/800—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]

Today I am sent by news outlets and corporations to capture stories for their audiences. For example, just this week, I was covering the grand opening of Chick-fil-A at The College Football Hall of Fame. My audience was the internal staff and franchise owners. The Associated Press photographer covered the story, and his audience was the public.

Associated Press photographer Dan Goldberg interviews a couple. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/6.4, 1/140]

How the new Chick-fil-A restaurant impacted, those audiences was my assignment. The AP Photographer and I were covering the same subject. Still, because we knew our purpose, we could adjust throughout the story as the subjects in the story helped inform us of new content relevant to the story.

My primary concern in all my storytelling is the subject. If I aim to please the subject and the subject would be happy with the story, then the accuracy is much greater than focusing on what someone else told me about the narrative storyline.

Just like the teacher who knows the purpose of their lesson plan can adjust to bring the class along, I, too, must adapt to be sure I capture how this new restaurant will impact my audience.

Dan Cathy is with one of the staff members from the College Football Hall of Fame reading the story of “A Better Way Ministries” person who built the table. [Nikon D4, 28-300mm, ISO 6400, ƒ/8, 1/200]

As you can see in this photo, I needed my dancing shoes when Dan Cathy, the president of Chick-fil-A, crawled under a table and started talking to everyone from under the table. Just like when the teacher gets a question from a student who can help engage the classroom even more in the story, this was my question moment.

The plaque on top of the table tells the story of the table. [Nikon D4, 28-300mm, ISO 1000, ƒ/5.6, 1/160]

You can read about the table in the photo above. Dan Cathy talked about how this partnership with A Better Way Ministries was similar to their new coffee company Thrive Farmers. The process of picking Thrive Farmers was the realization there was a story there of the farmers. The artisans who made the table have a story, and Chick-fil-A asked them to take a Sharpie and write their account under the table.

The artisan’s story. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/500]

This unexpected detour helped me reach my destination better than without the detour. You see, the story of how Chick-fil-A was interested in impacting the lives of the artisans and coffee growers by buying their products is how they were impacting those communities. It did a great job setting up the story of how this restaurant will impact the neighborhood near the College Football Hall of Fame.

Highways vs. Back Roads

Great storytellers know that those detours compare the interstate highway to the back roads. Of course, interstate highways are like the straight line from point A to point B, but rarely are they as scenic as the backroads.

I know that when I am the passenger on a drive on the interstate, I am much more likely to take a nap than on the backroads.

The lesson here is simple. If you know why you are doing the story, you will learn how to navigate and take advantage of the opportunities the subjects give you, making your account success.

Use strobes even with the sun outside.

 
Nikon D3, 14-24mm, ISO 200, ƒ/14, 1/250 [Lighting Diagram below]

Using a flash outside can give your photos the pop you need to improve photos.

Now I often get asked to take group photos, and even with some sunlight facing the subject, I find that the shadows under the eyes and sometimes from people’s heads cast a shadow on another person. So I prefer to add strobes to take the quality up a notch.

 

There were clouds also in the sky, but the software for the diagram didn’t have that as a choice.

Since there were clouds, the people were not squinting, and the flash popped in so quickly that I got some pretty decent expressions.

To me, the most significant change is in those black robes. Anytime I use to flash the shadow to highlight, the difference is minimal. So while it looks like a more excellent dynamic range, it is the opposite. The strobes help fill in the shadows and bring the exposure closer to a four or five-stop content rather than the ten stops often in daylight scenes outside.

First Day of School Photos

 
Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/70—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the camera’s power. Power 1/128

On the first day of school, photare is a tradition at our house. I know many people are doing the same thing this morning and posting these photos to Facebook, Instagram, Twitter, and anywhere else they can celebrate and preserve those precious memories.

Now taking photos just before my daughter leaves for school meant I was outside taking these photos at 7:15 am. The sun had been up for a short time, so it was still not all that bright.

Without a flash, the settings were ISO 6400, ƒ/7.1 @ 1/70. I am always in favor of using a flash when there is no excellent directional light with the available light.

Here is the lighting diagram I used over and over this morning:

The rule of thumb I use for placing my flash, which will be my leading light, is 45º to the left or right of the model about the camera as well. I also try to put the flash’s height to about 45º above the camera and the model.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/70—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the camera’s power. Power 1/128

The light position height controls the shadow from the light coming across the person’s nose that touches the lips.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/70—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the camera’s power. Power 1/128

Now I moved around the yard to find this location. The sprinklers just watered the grass, so I didn’t want to get my daughter all wet before school. The photos above are pretty nice for this morning.

I did start on our driveway and tried to find an excellent green background. The problem with my taste was it was just a little too dark.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/40—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the camera’s power. Power 1/128

I dialed down the Neewer TT850 to the lowest 1/128th power and did this with the Neewer 433MHz Wireless 16 Channel Flash Remote Trigger. Next, I dialed the ƒ-stop up to ƒ/7.1 to be sure my daughter’s skin was well exposed.

I recommend starting with the available light and the flash down when your exposure uses ISO 6400. Make sure your sync speed is the same or slower than your camera’s. For the Fuji X-E2, that is 1/180.

Early morning was making the best of the time of day for the first day of school photos. I used a similar setup in the afternoon when the light was brighter just a week ago.

The only real difference is the light is on the right side rather than the left, and it was much brighter than today, shooting at 7:15 am.

I love this simple setup for portraits. The Fuji X-E2, 18-55mm—Neewer TT850 & The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. If I were doing more headshots, I would have switched or at least shot more with the FUJINON XF 55-200mm.

Here are those photos from a week ago.

Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the power from the camera.
Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the power from the camera.
Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the power from the camera.
Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the camera’s power.

Photography Tips for Covering Football

 
Nikon D2X, Sigma 120-300mm ƒ/2.8, ISO 400, ƒ/2.8, 1/1250

Action Shots

This blog post is about the action on the field and not reactions to that action.

Three things I think you should strive to have in all your action shots on the field:

  1. The Ball
  2. Expression
  3. The competition
While not every great sports photo will have all three, the overwhelming majority of them will have all three elements.
 
 

Definition of Sport—an activity involving physical exertion and skill in which an individual or team competes against another or others for entertainment.

Nikon D4, Sigma 120-300mm ƒ/2.8, ISO 12800, ƒ/5.6, 1/1000

I like capturing the expressions of football players. An expression shows the “physical exertion” of players. So the key is to put me in a place where I will see their faces more often.

 
Nikon D4, Sigma 120-300mm ƒ/2.8, ISO 12800, ƒ/5.6, 1/1000

When possible, I recommend covering one team. this way, you can show their team’s faces on offense and defense without running up and down the field over and over to get in front of them.

I generally try to shoot way down the field in front of the teams and prefer standing in the end zones. If they are far away, I use longer glass, like a 600mm lens, and when they are on the goal line, I may switch to my 70-200mm lens.

Why the endzone? Well, they are generally running in that direction and trying to cross the goal line. So when you are on the sideline, they may run slightly in your path, but they could also be running to the other sideline.

Nikon D4, Sigma 120-300mm ƒ/2.8, ISO 12800, ƒ/5.6, 1/1250

While my knees get sore from kneeling most of the time, I think you get better “athletic” moments. When you are low, you make the football players look much higher off the ground when they jump than when you stand. We like our star running backs to look like Roman gods flying when necessary. Remember, the purpose of the sport is entertainment. Flying because I am down low is a lot more exciting than from above, where they look closer to the ground.

Nikon D3S, Sigma 120-300mm ƒ/2.8 with 1.4 converters, ISO 6400, ƒ/4, 1/2000

Some of the best defense shots of the game are behind the line of scrimmage. Behind the offense, you capture the sacking of the quarterback. You can also catch the running back. You see, the defense moves the ball forward for their team when they create a loss for the other team’s offense.

I recommend renting long glass lenses rather than buying them. It would help if you had a lens between 300mm to 500mm to cover football, and adding 1.4 & 2X converters get you the longer lens.

Here is the list of gear I use in football

  • (2) Nikon D4 Cameras
  • 14-24mm ƒ/2.8 Nikkor
  • 28-300mm ƒ/3.5-5.6 Nikkor
  • Sigma 70-200mm ƒ/2.8
  • 120-300mm ƒ/2.8 DG OS HSM | S carried in the Thinktank Glass Taxi™ [not in photo]
  • Sigma 1.4 converter
  • Nikon SB-900
  • Manfrotto 294 Aluminum 4 Section Monopod
  • Manfrotto by Bogen Imaging 323 RC2 System Quick Release Adapter w/200PL-14
  • ExpoDisc
  • Shure FP15/83 Lavalier Wireless System
  • RØDE VideoMic Pro
  • Zacuto Z-Finder
  • AWP Knee Pads – Important to save your knees
  • ThinkTank System for lenses using belt and harness
  • ThinkTank Memory Card Holder
  • ThinkTank Airport Security™ V 2.0 Rolling Camera Bag
  • ThinkTank Credential Holder Tall V2.0
Nikon D3S, Sigma 120-300mm ƒ/2.8 with 1.4 converters, ISO 6400, ƒ/4, 1/2000

One last advantage of shooting from the end zones—is BACKGROUNDS. Your background is easier to keep clean and improve impact.

Have fun shooting this fall.

Time for Senior pictures

 
Nikon D4Sigma 120-300mm f/2.8 DG OS HSM, ISO 100, ƒ/5, 1/250—Two Alienbees B1600 mixed with daylight [diagram below]

It is that time of year that I get requests for doing Senior photos. I have not marketed myself to this market, but friends through church and work call and ask if I will photograph their Senior.

Today’s Senior pictures are much different than when I had mine made back in 1980. Today we are seeing more and more photos of Seniors in their favorite activity.

Last night I captured Grant Newsom at the pool where he is on the swim team and a lifeguard.

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, ISO 100, ƒ/5, 1/250—Two Alienbees B1600 mixed with daylight.

When we first met to start the shoot, his mother told me that Grant’s employer scheduled him to work at the same time and didn’t tell him about the schedule change. He didn’t want to let down his employer and was concerned that this would take a long time.

We did all these photos in one hour at three locations, and one of those required us to drive a small distance. Multiple locations involve taking substantial softbox and setting up and down in three areas. It also meant that the subject had some outfit changes to do.

After the first few minutes, Grant relaxed, realizing we were getting great images and moving quickly.

Moving quickly to each new location is why you practice over and over doing these types of photos, so you are ready to go when you have to “Get Er Done.” I have done this so many times throughout my career that I could quickly move and set up and get some pretty good images of Grant. I will let you be the judge of the photos.

I used two Alienbees B1600 flashes powered by Paul Buff Vagabond battery packs. I used two at the pool because I knew that when you do the butterfly stroke, you are looking down most of the time, and the light isn’t there most of the time. So I filled the shadows with flashes.

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, ISO 100, ƒ/5, 1/250—One Alienbees B1600 with a large softbox off to the right to be mixed with daylight

We had a lot of fun capturing these photos. The main reason I feel like you get great images in this situation is the Senior is doing what they love the most. They are in their world of comfort, and I am there to join them.

Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, ISO 100, ƒ/5, 1/250—One Alienbees B1600 with a sizeable softbox and mixed with daylight

For the most part, I wanted to capture the competitor in the pool; thus, I smiled here. We did get some, but I like the fierce look.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/5, 1/250—Large 30″ x 60″ foldable softbox with Alienbees B1600 mixed with daylight, also one Alienbees B1600 directly behind the model

We just changed shirts and locations quickly to keep on schedule for the seniors to run to work.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/5, 1/250—Large 30″ x 60″ foldable softbox with Alienbees B1600 on the left and then mixed with daylight [lighting diagram below]
 
 

Keeping it simple, I am using one large 30″ x 60″ Paul C Buff foldable softbox as the leading light and then letting the available sunlight light the rest of the photo. As a result, the flash is about one stop brighter than the rest of the scene. I exposed the softbox light and used an ExpoDisc to get a custom white balance before shooting the photos.

Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/5, 1/250—Large 30″ x 60″ foldable softbox with Alienbees B1600 on the left and then mixed with daylight

When you look for a photographer for Senior pictures, some of the best will be former newspaper photographers. They have shot everything, so it will be rare that your child has a favorite hobby that they haven’t shot before.

I covered the 1996 Olympics and specifically covered swimming and diving. Finally, I was ready for Grant in the pool.

Remember these Senior pictures we will cherish for the rest of our lives and generations later as they look back. Next year is my 35th high school reunion. It feels like yesterday, and we are all pulling out those photos from back in 1980.

By the way, we finished in time for Grant to go to work and have a date that night.