Category: Nikon D3s

Halloween Photography Tips

by Stanley LearyNikon D3s
 
Coolpix P7000, ISO 400, ƒ/4, 1/7

The time for Halloween is just days away. Halloween can be fun for photographers to document their kids through the years and get some fun photos.

Coolpix P7000, ISO 1061, ƒ/2.8, 1/280

Take the time and photograph your family getting ready for Halloween. Here I am with my daughter and her friend a few houses down as we take time to carve our pumpkins.

Coolpix P7000, ISO 1600, ƒ/3.2, 1/230

A couple of years ago, I set up a background in our garage, took photos of the kids as they came by, and then posted a gallery for them to get their photos. So many parents loved having lovely pictures of their kids.

 
Coolpix P7000, ISO 100, ƒ/8, 1/640

I set it up in the garage rather than our house because the parents could see their kids throughout the process, and I got more photos. However, had I requested people to come into our house, I am not sure that would have gone.

This lighting is a super simple setup. Two strobes pointed onto the white background. They are one-stop brighter than the two lights that are on the subject.

This setup works reasonably well when you don’t know what everyone will wear.

Nikon D3S, Nikon 24-120mm ƒ/3.5-5.6, ISO 200, ƒ/5.6, 1/80–Off-camera fill-flash using the Nikon SB-900. The flash is on the Pocketwizard TT5. The trigger is by the Mini TT1 on the Camera. The AC3 to control the flash’s output is an accessory I added to the Mini TT1. 

My daughter has a very creative imagination. One year she wanted to dress up as a princess of the enchanted forest. e went out in our backyard, and I captured her where she loved to play, but now in her Halloween princess outfit.

This same year I took photos in my home studio that I set up in our basement.

Nikon D3S, Nikon 24-120mm ƒ/3.5-5.6, ISO 200, ƒ/16, 1/200

Some photos we like best through the years of our kids are from Halloween. They had so much fun dressing up and having fun with their friends.

Nikon D3S, Nikon 24-120mm ƒ/3.5-5.6, ISO 200, ƒ/5.6, 1/1600

Since my daughter’s birthday is just a few days after Halloween, she has had many Halloween-themed birthday parties. So, here she is with her friends going putt-putt before going out for trick or treat later that evening.

Halloween Photography Tips

  • Take photos of your family getting ready for Halloween. Carving pumpkins or shopping for pumpkins on a farm
  • Set up a small studio or space to make Halloween photos. You may even want to create a small set.
  • Photograph your kid in a natural setting that compliments their theme for their costume
 

Photographing The Citadel’s Ring Day Weekend

by Stanley LearyNikon D3 / Nikon D3s
Nikon D3, Sigma 120-300 mm f/2.8 DG EX APO IF HSM, ISO 6400, ƒ/3.5, 1/100

The Citadel Ring Day Weekend

This weekend is the time the seniors at The Citadel get their rings. Most cadets go through the ring with their parents and date. My wife is going through the ring with my stepson and his date.

Nikon D3s, Nikon 24-120mm ƒ/3.5-5.6, ISO 12800, ƒ/5.6, 1/80

I can tell you that you are better off shooting without a camera flash. You are just too far away for it to make a difference. It would be best if you had a camera with an ISO of 6400 or higher to get a good sharp photo.

You may want a lens that covers 50mm to 200mm if you stand on the floor.

Tips:

  • Arrive early
  • Take test shots at different White Balance settings.
  • Custom White Balance is the best [blog on how to do that]. Also, the blog explains how to set presets as well.
  • Set ISO up high, like ISO 6400 or higher. I shot the second photo at ISO 12800
  • Keep shutter speed up, so shoot wide open with your aperture.
  • Make test shots and take a look.
Nikon D3, Nikon 24-120mm ƒ/3.5-5.6, ISO 6400, ƒ/3.5, 1/125–Two off-camera flashes on either side of the camera.
Take photos other than going through the ring. Here I photographed them in the Quad of the Barracks.
 
Nikon D3S, Sigma 120-300 mm f/2.8 DG EX APO IF HSM, ISO 6400, ƒ/2.8, 1/80
The good news is the seniors get their rings in the afternoon before walking through the ring. Great time to practice in the same room; the photos will be that night. Here my son helps with name pronunciation.
 
Nikon D3S, Sigma 120-300 mm f/2.8 DG EX APO IF HSM, ISO 3200, ƒ/2.8, 1/80
Here he is getting the ring. The good news is when they are standing in the ring and walking down the carpet, there are more lights on them.
 
Nikon D3S, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 400, ƒ/8, 1/3200
You will shoot many photos of your cadet holding the ring close to the camera. Be sure your aperture is pretty high. Here it is ƒ/8. The larger aperture helps keep their ring and faces in focus.
 
Nikon D3, Nikon 24-120mm ƒ/3.5-5.6, ISO 1000, ƒ/5.3, 1/60–Two off camera flashes on either side of the camera.
If your son/daughter isn’t a senior, this is a great time to practice a year or two earlier so that when your time comes, you are seasoned. If you get great photos, you can share them with the other families.
 
We are grateful to have all these photos to remember our son’s journey through The Citadel.

Patience Grasshopper: Patience Photographer

by Stanley LearyNikon D3s / Nikon D4 / Nikon D750
Nikon D3S, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/7.1, 1/100

Sunset Photos

Timing is crucial when shooting sunsets. The sun barely dipped below the horizon, and the sky is still getting light from the visible sun.

Nikon D3S, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/7.1, 1/100

Nine minutes later, the sun has minimal impact on the sky.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/100

Here in Chicago, I just wanted a dark blue sky so that the city’s lights popped, but the edges of the building were still visible.

Nikon D750, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 160, ƒ/7.1, 1/160

As the sun set, I took this photo in Seattle of the skyline. By just waiting seventy-eight minutes later, I captured this photo from the same spot.

Nikon D750, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/8, 6.2 sec

Finally, the lights in the city are brighter than the sky, allowing them to create a more powerful photo.

Dusk Photo Tips

  • Pick your location an hour before sunset
  • Use tripod
  • Use low ISO
  • As the sun goes down, shoot lots of photos
  • Shoot good 20 to 30 minutes after the sun disappears below the horizon
 

Combating Portfolio Depression

by Stanley LearyNikon D2X / Nikon D3s / Nikon D4 / Nikon D750
 
Nikon D2X, Sigma 18-50mm f/2.8 EX DC HSM Macro Lens, ISO 400, ƒ/2.8, 1/160

Most photographers grow despondent of their portfolios over time due to having little new work that can replace their best work. I call this Portfolio Depression.

There are times in life when we need some intervention. Sometimes this is medical, where we may even have to undergo surgery to get rid of something harmful to our body.

Photographers are like many other artists and find themselves under the knife trimming the fat to become more lean and effective in our craft.

My Workflow

After a shoot, I ingest my photos from the camera and do a rough edit in PhotoMechanic. All I am doing at this point is deciding if the images are OK. Out of focus, extremely harmful exposure, accidental frame shot, bad expressions, and other things that rule a photo from keeping it are what I am evaluating.

Usually, I am eliminating 50% to 75% of the images at this point.

Nikon D2X, Sigma 70-200mm f/2.8 APO EX DG HSM, ISO 100, ƒ/2.8, 1/80

Consistency

A few weeks ago, one of my clients talked about my consistency. He said he could always count on solid professional work and people like working with me.

The hardest part of the edit is during the Lightroom phase, where I straighten horizons, maybe crop a little bit, and were correct for the lens profile and minor burning and dodging. I am often feeling left very flat emotionally.

It doesn’t take long, and I find myself sinking emotionally. But then, I look at my work and realize I do not see many grand slams.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/8, 2.5 sec

Skyline

To compensate for my frustrations, I started planning skyline shots of some of the cities I was visiting. Here is the Seattle Skyline I did back in April.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/16, 20 sec

What has been happening on my photo shoots that is making things more and more complex is clients sending me to locations with very little information about the area. It wasn’t something they could fix either. It just is what it is.

Kyle Petty’s first NASCAR Sprint Cup Series was the 1986 Miller High Life 400 Richmond, Va. Here is where Bill Elliott ended up on the wall. After the race, Earnhardt had to pay a $3,000 fine ($6,454.46 when adjusted for inflation) plus a $10,000 security bond for an incident involving himself and the back end of Darrell Waltrip’s vehicle ($21,514.88 when adjusted for inflation).  

In the days of breaking news, it was difficult for you to plan. So the best I could do was position myself as I did here, covering the 1986 Miller High Life 400 at the Richmond Speedway to catch where many of the wrecks happened on that track.

ƒ/8 and Be There

Photojournalists have a saying, “ƒ/8 and be there”, meaning that being on the scene is more important than worrying about technical details. Practically, ƒ/8 allows the adequate depth of field and sufficient lens speed for a decent base exposure in most daylight situations.

It doesn’t take long in this profession to realize that the “ƒ/8 and Be There” attitude is concise.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/22, 25 sec

Google Photo Search

A few weeks ago, while in Bucharest, Romania, I went online and found some signature shots of the city before getting to Romania. While it felt good to get this photo like all of my other skyline shots, the part frustrating with these photos is the many photos other photographers have taken. I was more proud of the Bucharest photos since these particular angles didn’t show up right away on the Google searches when I was researching.

Nikon D3S, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 6400, ƒ/2.8, 1/320

Perspective

I learned early on that if your photos are not very exciting, then change your perspective. So this is what my wife and I did one day by taking a balloon ride in the North Georgia mountains.

Nikon D3, Nikon 24-120mm ƒ/3.5-5.6, ISO 720, ƒ/5.3, 1/1000

By just getting up in the air, I saw things from a different perspective than 6’2″, my height standing.

Nikon D3, Nikon 24-120mm ƒ/3.5-5.6, ISO 400, ƒ/8, 1/30

While getting a different perspective by getting high or low and shooting late or early, I still need the essential content photos with most of my assignment work.

Conflict

OK, you are now reading my story of conflict. My photos are not exciting enough and lack the surprise factor that I want to get every time I go out. I remember watching my mentor Don Rutledge struggle with the same issue. Just one thing majorly different is my mentor was a lot better than I have been with photography.

I watched Don buy new camera systems to see if that would help give him some creative edge. Don bought new Singh-Ray filters for all his camera lenses, which helped give him a unique look.

Don shot Nikon, then shot Olympus, and then went on to Leica cameras before returning to the Nikon cameras. All these moves were to help him keep creative and get the very best out of a situation he was shooting.

The sad reality is that you can produce some very excellent professional photography, but you still need content that isn’t as visually interesting. Nevertheless, you have done just about all you can to make the very best photo you could have made.

Staying Truthful

The danger for the photojournalist is you don’t want to manufacture moments. A photojournalist is who I am most of the time. I want to stand flat-footed, find the angle, and then help tell the story as authentically as possible.

The number one thing that has helped the most with accomplishing a sense of satisfaction has been doing multimedia projects. I realize that the subject’s words often were missing in photos, and having them tell their own stories took my work to a different level. Are the images better? No. However, the stories are complete.

What often feels like depression after an assignment is me looking at the conflict in my story. Then usually, I will look at other photographers’ work on similar topics and see how they treated the story. In addition, I am finding other resources through photography magazines, online galleries, and, most important is through professional associations. Associations are where my colleagues publish, like NPPA’s News Photographer Magazine and ASMP’s Bulletin magazine, which help keep me updated on trends and gear.

The best advice to help combat this portfolio depression is to create your project. This way, you can plan and control more of the variables and allow you to show people what you can do.

Summary

  • If you love all your work, then you are not growing
  • If you are depressed after reviewing your latest work – that is normal
  • If you look to get better by studying other people’s work – you are smart
  • Do your special project
  • Take a Workshop

Storytelling is more than ƒ/8 and be there

by Stanley LearyNikon D3s / Nikon D4
[NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 1600, 1/2000, ƒ/13, (35mm = 14)]

ƒ/8 Be There

The quote “ƒ/8 and be there” is attributed to Weegee, a famous street photographer during the 1930s, ’40s, and beyond. It represents a philosophy to keep technical decisions simple and be where your vision takes you. The quote has been the mantra of photojournalists, travel photographers, and even nature photographers.

Weegee’s quote says you need to anticipate and be technically ready to capture “the decisive moment.”

Be careful not to treat your interviews as having microphone and recorder levels set and just hit record.

Interview

In interviews, you are not just listening and capturing what you hear with the microphone and recorder. Instead, you must listen and see if what you are hearing can be said more effectively.

Nikon D3s, Nikon 24-120mm ƒ/3.5-5.6, ISO 2000, ƒ/10, 1/250

You need to be actively listening. After the subject talks, you summarize their thoughts and ask if you are tracking with them. If they agree and your summary is shorter and getting to the points very effectively, ask them if they mind saying this so you can capture it.

Your goal is to shorten their comments so the audience will not doze off. Instead, they will stay engaged because the subject is now more engaging. After all, you helped them to tell their story more effectively.

Very seldom will you ever capture someone that all you need to do is rearrange their sound bites into a story? You must also help them say what they are trying to communicate better.

If you do not do this during the interview, your editing software like Adobe Premiere Pro or Final Cut Pro X will not improve the content. Get the content edited without the technology by just helping someone tell their story and then use the technology to deliver the message to the audience by putting the icing on the cake.

You are editing in real-time by actively listening and asking follow-up questions based on their answers. 

Capturing A “Moment” Helps To Build A Brand

by Stanley LearyNikon D3s

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

I was covering a meeting where Dan Cathy, the president of Chick-fil-A, talked about Daddy Daughter Date Night events. Dan projected my photo as he talked about how every daughter wants this attention from their dad.

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

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

Here is the actual photo here. I am guessing that the picture on that stage was 45′ x 30′. I was impressed that the Nikon D3s ISO 6400 image looked that great project that size.
The client was comfortable enough to use the photo by the president of the company to talk about one of the most important things their brand does–emotional connections.

Nikon D3S, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 3200, ƒ3.8, 1/25–Off camera fill-flash using the Nikon SB-900.  The flash is on the Pocketwizard TT5 and is triggered by the Mini TT1 on the Camera. There is also the AC3on the Mini TT1 to control the flash’s output.

My job is to look for those moments where the emotional connection happens and be sure the brand is part of those moments. For example, I was capturing a Father & Son Camp Out at a local Chick-fil-A. Chick-fil-A is creating events to help bring families closer together. What better way to capture these moments than with a photograph?
Remember, while you need to have a good quality image technically, you also need a “moment.”

Great Photography Implores Yin-Yang of …

by Stanley LearyNikon D3 / Nikon D3s
 
 

Photography requires one to understand yin-yang.

Wikipedia definition of Yin-Yang

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

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

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

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

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

ISO/Noise–As you change your ISO, you affect the image quality. Today’s cameras’ high ISO capabilities make this less noticeable, but it still exists.

Flash/Authentic Moments–When I shoot with a flash, I announce myself, and blending into a room is much more challenging.

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

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

Gear/Photographer–This is the biggest issue I have regarding Yin-Yang. There is an ongoing struggle between the science and philosophy of the image. It is like a struggle between science/technology and the liberal arts; you need both to make the best images.

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

Lifelong Learning

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

Great photos, I believe, are the results of years of understanding and knowledge of the gear to make it perform at the peak of its capabilities, along with years of knowledge of the subject. You can anticipate and execute an incredible image because you are ready for the “moment.”

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

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

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

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

Two topics that will result in better images

We need to spend more time getting to know the subject of the images. We need to become experts on our subjects to capture moments that help people connect through photos to those subjects in ways they did not see before.

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

Plan ahead for great Prom Pictures

by Stanley LearyNikon D3s
 
Nikon D3S, 24-120mm, ISO 200, ƒ/9, 1/60

The key to a great photograph of any kind has much to do with the location. So check with your friends for possible locations before all the kids go off to the prom.

One of the parents had a lovely backyard with steps that made for fabulous “natural” risers.

Nikon D3S, 14-24mm, ISO 200, ƒ/9, 1/60

This large group photo is typical. The last photo is usually the large group since some will run late.

I recommend using lights to ensure you can see everyone’s face without raccoon eyes. Racoon eyes are from the overhead sun or, even worst, a backlit photo.

Here is the setup I did for all the photos:

I had six Alienbees B1600 lights. Four are in front with 65″ umbrellas, and two in the back pointed up to be sure the trees didn’t go black. Instead, the trees created a dark canopy, and the strobes in the back helped open up the shadows.

Nikon D3S, 24-120mm, ISO 200, ƒ/9, 1/60

Plan for the lens choice as well. I needed to move quickly, so for all the photos except the massive group photo, I used the Nikkor 24-120mm. This lens lets me do a couple of shots and then quickly have a small group photo.

You see, on the evening of the prom, they do not want to take photos all night long. They want to go to the dance. So pick a great location, put up your lights and then have a lens like the 24-120mm or multiple cameras with different lenses ready to go.

Proms are just a couple of months away, but the best photos are the ones where the photographer takes the next two months to plan. You can rent lights if you don’t have them. If you have never done this before, do a test run before the date.

Nikon D3S, 24-120mm, ISO 200, ƒ/9, 1/60

Photographers what are you doing when you don’t have an assignment?

by Stanley LearyNikon D3s
 
Nikon D3s, 28-300mm, ISO 400, ƒ/5.6, 1/2000

“It’s not the will to win that matters—everyone has that. It’s the will to prepare to win that matters.”

— Paul “Bear” Bryant
 

The Army’s Airborne School has training before you jump out of the plane with a parachute.

Photographers would do well to learn a few things from the military in how they approach their jobs.

Nikon D3s, 28-300mm, ISO 400, ƒ/5.6, 1/2000

When you come out of the plane, many things can go wrong. On one of my son’s jumps, the carabiner came loose from the parachute; he quickly grabbed the parachute and held on tight. He knew the alternative is a smaller backup parachute where you come in much faster and more prone to injury during landing.

Training had alerted him to the process and what to be aware of when he jumped.

Nikon D3s, 28-300mm, ISO 400, ƒ/5.6, 1/2000

To have the parachute open properly and be prepared to land on almost any type of terrain below requires preparation.

It amazes me how much training is involved before our armed forces go off to perform their duty in a “combat” situation.

Nikon D3s, 28-300mm, ISO 200, ƒ/5.6, 1/800

When they are not actively training, a lot of waiting is involved.

Tips from the military for the photographer

  • Spend a lot of time getting to know your gear
  • Practice shooting assignments that are similar to those you will do for “real” later
  • Stay fit by eating right and exercising. Of course, it would help if you had physical stamina for those long day assignments.
  • Expand your skills. Like military personnel will go for more specialized training, you must also continue to add more skills to make you valuable.
  • Military Camaraderie – Nothing in the civilian workforce can approximate the bonding that occurs in the wardroom, ready room, or foxhole. Military personnel in those environments endure much hardship – long hours, stressful working conditions, danger to personal safety, separation from loved ones, and more. However, they get through it because they are all in it together. This mutual self-sacrifice, teamwork, and covering each other’s six contribute to individual bonding, unit cohesion, and, ultimately, the camaraderie in question. See your competition more as your colleagues rather than just competition. 
  • Military personnel understands how lack of preparation can cost their lives and those around them. Likewise, the lack of preparation for the photographer will cost them their careers.
My son is a 1st Lt in the Army, and he goes off for Special Forces School for three weeks next month. If he makes it through this, then he will spend the next two years training before he can call himself “Special Forces.” 
 
Because of his investment, the military will also invest in him and give him a job for even more years. If you stagnate in the military, your days will be limited. 
 
If you are not growing in skills as a photographer and offering more to your clients, someone else will replace you with your clients.
 
Have you been training and preparing for the following jobs that you don’t even have assigned? If not, then don’t be disappointed when you have to find another career to pay your bills. 

Remember Photography is Writing with Light

by Stanley LearyNikon D3s / Nikon D4
 
Nikon D3s, 14-24mm, ISO 200, ƒ/8, 1/500

I shoot a lot of exteriors of restaurants. I cover these locations because they are often in a new market. My job is to capture that they are in a unique need.

Chick-fil-A opened a new restaurant in downtown Chicago by Loyola University. I wanted to capture they were in a significant downtown location. So I shot up to show the skyscrapers.

Nikon D3, 14-24mm, ISO 6400, ƒ/5, 1/60

Later in the day, I would shoot a similar photograph. I think the best time most of time for architectural shoots is at dusk or dawn. I prefer dusk rather than getting up early. However, I shoot both most of the time. It had been overcast and raining earlier that evening, close to midnight in downtown Chicago.

Nikon D4, 14-24mm, ISO 160, ƒ/7.1, 1/100

Later I was to return to Chicago and capture a new Chick-fil-A at an iconic location at the corner of State and Lake. I went up on the train tracks above to get this photo. I was doing everything I could to show that the most photographed location in Chicago–was due to the Chicago Theater sign being next door to our new restaurant.

Nikon D4, 14-24mm, ISO 125, ƒ/11, 1/100

I was shooting this from every place I could on the street. The problem with daylight when doing these photos is that everything is equally lighted. Therefore the lighting doesn’t help you emphasize anything. So you are limited to the composition graphics to make the photo work.

Nikon D4, 14-24mm, ISO 12800, ƒ/8, 1/100

Notice how shooting at dusk now, the Chick-fil-A signage and the Chicago Theater signage pop.

Nikon D4, 14-24mm, ISO 12800, ƒ/8, 1/80

However vast the composition, due to the red in the Chick-fil-A sign, your eye draws to it. Compare that to this one below; even tho they are from different angles, you can see how the daylight overpowers the Chick-fil-A sign.

Nikon D4, 14-24mm, ISO 100, ƒ/7.1, 1/200

My eye goes to the Chicago Theater, but I must work to notice the Chick-fil-A. For a reason, Chick-fil-A sent me to Chicago, and this photo failed.

Nikon D4, 14-24mm, ISO 12800, ƒ/6.3, 1/80

One of my favorite images from my time in Chicago was capturing this image here. I like the nighttime because the Chick-fil-A sign shows up, but now I can see inside the restaurant. I can see the customer chilling and just enjoying being inside the restaurant.

My tip is to plan your coverage to be at a location at dusk or dawn to get these photos that pop due to the lighting values changing from artificial light to sunlight. Remember that the word “Photography” means to write with light–so do it.

Photography Tips for Covering Football

by Stanley LearyNikon D2X / Nikon D3s / Nikon D4 / Sports
 
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.

Photographers: The Best Of Times Are Often The Worst Of Times

by Stanley LearyNikon D3s / storytelling
 
Nikon D3S, 14-24mm, ISO 320, ƒ/13, 1/180

My oldest step-son Nelson Lalli [he is in the center front row], chose to go to The Citadel, a military college. Unfortunately, he decided to go to a school where for the most part, students are paying to be yelled at and pretty much humiliated, as I saw it for most of their entire first year. At The Citadel this year, they are called Knobs.

We all know that they teach this to the military because they learn to follow orders, which is critical to the success of the military.

Later Nelson decided in his Junior year to try out for the Summerall Guards. Now, if you think being a Knob was hard, the comparison is like thinking of your Knob year as a cakewalk.

Nikon D3S, 28-300mm, ISO 1600, ƒ/6.3, 1/320

The Summerall Guards must do all that the rest of the Corp of Cadets is doing plus all the extra physical and psychological torture [well, to an outsider] they do. He had to listen to orders while someone was yelling into his ear just inches from his ear.

Do you know what they talk about as Seniors? They tell all the stories from Knob year, and if they were a Summerall Guard, they also tell those stories.

Great storytelling requires tension. It would help if you had something to move the story along. What is great about a good story is it is memorable.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/45

The students I have been teaching in Hawaii have instructors sit with them and pour their wisdom daily.

Fuji X-E2, 18-55mm, ISO 5000, ƒ/3.6, 1/110

However, years later, many of these students will remember more about their kitchen duty than from a devotional that someone led because of the stress that comes from dealing with difficult situations and overcoming them.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.6, 1/8

Late into the evening, you see students all over this Youth With A Nation campus studying and trying to get everything done for their assignments.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/110

Here you can see three students in my class working together, trying to grasp how to set up three lights: The Main, The Fill, and the Background. Of course, each morning had to be set for a different power, and the Main and the Fill light needed to be one-stop different.

Not only did they have to get the lights set, but they also had to get a custom white balance. So now, when they had all this technical stuff, they still had to work with a model and get a good expression and composition.

They were stressed. They continued to come to me. Rather than giving them a quick answer, I often asked them questions. The stress you could see going up on their face. Then as Keziah Khoo experienced, there was a eureka moment where they got it. The joy on her face made all those struggles worth it.

The difficulty of the class and then mastering the subject made her feel good about what she now knew how to do that she could not do before.

I wrote this today to let those of you who are experiencing a lot of stress know that these times are memorable, and as you make it through these tough times, the fact that you survived alone makes for a great story.

When your life is boring, it is because you are most likely not challenging yourself and growing in knowledge.

Fuji X-E2, 18-55mm, ISO 1600, ƒ/5.6, 1/500, Exp Comp -1

While many people love an incredible sunset, I love an amazing sunrise. I love the fresh air and the fresh start to each day.

Funny how sleeping on something insurmountable yesterday is not so bad the next day.

Look at your challenges as opportunities that make your life one exciting story to read.