Category: Nikon D4

Photographer are you shooting yourself in your foot?

by Stanley Learybusiness / Nikon D4
 
Fuji X-E2, FUJINON XF 18-55mm, ISO 1000, ƒ/2.8, 1/500

In the words of Joan Rivers, “Can we talk?” Let’s get honest here; we are often too concerned about ourselves and not enough about our clients.

Did you know that many people do what they consider loving actions to hurt someone? They are more often taking action because it makes them feel better, not their friend.

I learned about this when I was a Social Worker. We call this behavior enabling and not helping behavior.

Enabling occurs when you allow the addict, alcoholic, or afflicted individual to continue their destructive behavior. Enabling is often perceived as helping. However, the essence of enabling is permitting the addict to continue with their addiction, often by supplying money, shelter, legal aid, or any other help form.

I learned that enabling to avoid it requires you to know more about a situation. You must understand the root causes and not just the symptoms.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/6.3, 1/250

Providing Solutions & Not Problems

I think many photographers approach clients with problems, not solutions. Unfortunately, they are just like those enablers–they do not understand the big picture and shoot themselves in the foot over and over.

I believe today, those who pitch ideas that are easy for a client to plug into their situation get more jobs than those who pitch ideas that require the client to do more work to use their contribution.

Here are some questions to ask yourself about your pitch:

  1. What problem does my idea help solve for the client?
  2. What does my client have to do to implement my opinion?
  3. If my concept requires help, am I finding it and providing the total package or relying on the client to deliver something?
  4. Does my pitch talk about how this addresses the client’s issues?
  5. How do I know that my idea is good for the client?
  6. Do I have more than one idea in case the client says they are not interested in some reason or another?
To boil this down, the fundamental question you need to ask is why the client should care about your idea. Don’t assume they understand how this will help them–you need to have that as part of your presentation. It will show them you do understand them, or it will show that you do not understand at all what they are doing.

Experiencing Israel during Holy Week in Georgia

by Stanley LearyNikon D4 / Nikon D750
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 180, ƒ/8, 1/200

This past week I had an assignment at the Explorations in Antiquity Center in LaGrange, Georgia. So I could experience ancient biblical life and times without going to Israel.

This place is one of the ways I learn best–Experiential Learning. Experiential learning is the process of learning through experience and is more specifically defined as “learning through reflection on doing.” Experiential learning is distinct from rote or didactic learning, in which the learner plays a comparatively passive role.

The first photo is a replica tomb of what Jesus Christ was placed into after his crucifixion.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.6, 1/125–off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger 

The docent and tour guide helped us see the cross that Christ most likely was crucified on rather than the Roman-designed cross much worn today or in churches. They went into considerable detail to help you understand why this was such a horrible way to die.

 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 2500, ƒ/7.1, 1/100
They have authentic goat hair tents like the nomadic shepherds have lived in for thousands of years. Here you sit and listen as the docent helps explain what you are seeing and experiencing.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.6, 1/160
This photo shows a replica of the main gate to the city. Here you learn about the gate that Jesus would have come through on the donkey. What happened around this gate gives you perspective.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 220, ƒ/7.1, 1/200
The group is sitting in the Garden of Gethsemane replica, learning about the Olive Tree and the Olive press.
 
Here is a great blog post explaining the symbolism of the olive tree and how Jesus’ prayer in the Garden of Gethsemane was like him being pressed. 
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 400, ƒ/18, 1/200
They have the press that they first use when working with olives. So it was good to see and have an expert in Biblical History speaking and helping us to know the significance of the Mount of Olives and the celebration of Holy Week.
 
Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 9000, ƒ/2.8, 1/100

You can experience a Jerusalem Biblical Meal, which would have been similar to the last supper. I recommend going to the center for an experiential learning experience. For photographers, it makes for a fun location to shoot.

The Explorations in Antiquity Center is not related to any particular denominational tradition, so the conferences should be meaningful and sensitive to people from many different backgrounds.

 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 2000, ƒ/4.8, 1/100–off-camera flash using the Neewer TT850 flash & Neewer 433MHz Wireless 16 Channel Flash Remote Trigger. The MagMod with the grid is used to keep light off the screen.
Here is an explanation of the MagMod I used to keep the flash off the screen in the photo above.
 

Emotion Trumps Technique

by Stanley LearyNikon D4 / Nikon D750
 
Nikon D4, Nikon 85mm ƒ/1.8G, ISO 12800, ƒ/1.8, 1/250

The other night I was watching the TV Show The Voice. Nate Ruess was a guest advisor to all the contestants. I remember one comment that stood out the most: “Emotion trumps technique every time.”

Christina Aguilera often advises the other coaches, “Go with your heart!” when trying to make a decision.

Here are a few quotes from famous photographers also talking about the power of emotion and the heart of photos:

“A good photograph is one that communicates a fact, touches the heart and leaves the viewer a changed person for having seen it. It is, in a word, effective.”
— Irving Penn

“Look and think before opening the shutter. The heart and mind are the true lens of the camera.”
— Yousuf Karsh

“I think that emotional content is an image’s most important element, regardless of the photographic technique. Much of the work I see these days lacks the emotional impact to draw a reaction from viewers, or remain in their hearts.”
— Anne Geddes

“If it makes you laugh, if it makes you cry, if it rips out your heart, that’s a good picture.” — Eddie Adams

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.6, 1/20

Those who capture emotion by accident will struggle to do it again. However, there are those photographers are in touch with their feelings. They can constantly deliver great photos because they are emotionally aware of themselves and their surroundings.

 
Emotion, or a feeling, can bring a snapshot out of obscurity and make it shine. Sometimes an expression on the face can help bring this to the photograph. Often the direction of light or color of the light can influence emotions.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/4.5, 1/500
Sometimes you need to eliminate things from the photo to strengthen it.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 100, ƒ/7.1, 1/60
You can add light as I did here on the Hawaiian Fire Dancer. I used a Alienbees B1600 with a CTO gel and 30º grid to light up the guy. Again, the cool sky helped create a mood. So in this situation, I “created” the mood.
 
Sometimes you just need to put down the cameras and sit for a few minutes until you feel the mood. Then you need to figure out what visual cues trigger the mood.
 
Fuji X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/4, 1/6
Sometimes like here at The Wizarding World of Harry Potter–Diagon Alley at Universal Studios, the costuming and surroundings help create the mood.
 
In this photo I feel like I am in the World of Harry Potter.
 
Fuji X-E2, FUJINON XF 18-55mm, ISO 3200, ƒ/8, 1/500
My daughter’s dress and expressions transported me to Harry Potter’s world.
 
What you include and exclude can change the whole feeling/mood of the image.
 
Fuji X-E2, FUJINON XF 18-55mm, ISO 1250, ƒ/5.6, 1/125
Fuji X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/2.8, 1/40–pop up flash at -1EV
You may remember these two photos I showed in an earlier post. Remember even the time of day will change the mood.
 

What time is it on your camera?

by Stanley LearyNikon D4 / Nikon D750
 

Sunday, March 8th, Daylight Savings time happened. We lost an hour. Did you move all your clocks forward?

Time setting is essential if you have only one camera, but it is critical to have more than one camera for a photo shoot.

 
 

Go through your menu and set the camera for the correct timezone. The timezone setting is excellent to use if you travel to be sure you are placed on the local time using the correct time zone.

I like using Nikon’s Camera Control Pro 2 for $179.95 to set the camera time to the computer, which syncs to the internet time.

I synchronized the camera date and time to the PC, as you see here, as I did with my Nikon D4.

I plugged the camera into the computer using the USB port and calibrated the Nikon D750. Now all three cameras are synchronized.

Correct time helps when editing so that I can get all the photos shot at the same time together. This makes it so easy in Adobe Lightroom to organize the pictures by Capture Time.

Now, changing white balance situations can be crucial when trying to group all the duplicate photos in the same light.

SYNCHRONIZE THE CAMERA DATE AND TIMES!!!!!!

When being prepared isn’t enough.

by Stanley LearyNikon D4 / Nikon D750
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 250, ƒ/8, 1/250

This week I have been covering the grand opening of the brand new Chick-fil-A in Birmingham, Alabama.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.6, 1/80 ***4:13 a.m. EST***

One of the fun yet not-so-fun things is waking up to capture Dan Cathy playing Reveille, which is a bugle call, trumpet call, or pipes call most often associated with the military, waking up military personnel at sunrise. Dan used it to wake up all the First 100 overnight campers.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/5, 1/20

People lined up 24 hours earlier, and then because there were so many, they had a raffle drawing to pick the first 100 customers.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 3200, ƒ/5, 1/60—Off camera fill-flash using the Nikon SB-900 & SB800.  A radio transmitter on the camera is triggering the Flash.

People played all types of games to fill the time. Here some are playing corn hole.

 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/5.6, 1/25
Most everyone at some time took a selfie with the Chick-fil-A Cow.
 
My gear for this event:
  • 2 – Nikon D4 Cameras
  • 1 – Nikon D750
  • AF-S NIKKOR 14-24mm f/2.8G ED, Nikon D750
  • AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR
  • Nikon 85mm ƒ/1.8G
  • Sigma APO 70-200mm F2.8 EX DG OS HSM
  • Nikon SB800
  • Nikon SB900
  • Pocketwizard kit, TT1, AC3, 2–TT5
  • 2 – Interfit Metal Umbrella Bracket with Adjustable Flash Shoe
  • 2 – Manfrotto 5001B Nano Black Light Stand – 6.2′ (1.9m)
  • 2 – CowboyStudio 43-Inch Black and White Umbrella for Photography and Video Lighting Reflective
  • Røde Video Pro microphone
  • Shure FP15/83 Lavalier Wireless System
  • ExpoDisc
  • Eneloop XX batteries
  • Gitzo GT-0531 Mountaineer 6X Carbon Fiber tripod
  • ProMaster XC525 Tripod
  • ThinkTank Airport Security™ V 2.0 Rolling Camera Bag
  • Zacuto Z-Finder, Gorilla Plate V2, and Z-Finder 3.2″ Mounting Frame for Tall DSLR Bodies
  • Beats by Dr. Dre Solo HD On-Ear Compact Folding Headphones
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 720, ƒ/1.8, 1/250
Some Tips:
 
Generally speaking, you don’t need a ton of fancy equipment to do event photography. I use two DSLR cameras as a bare minimum (Nikon D4), a wide angle lens (14-24mm f/2.8), a general zoom lens (28-300mm f/3.5-5.6), and external flash units (Nikon SB800 & SB900). I can have two cameras by my side, eliminating the need to pause and change lenses.
 
I carried more gear than many since I also shot videos and created a multimedia package.
 
Be Prepared – Do your best to get the run of the show. The run of a play is a timeline of what is happening next. Most event planners have one, and you should ask for it. By the way, two times someone needed a pocket knife, and like a good boy scout, which I was, I had one for them to use.
 
Ask Questions – Be sure to ask the event planner are any planned surprises. You would be surprised how often this happens, and it just isn’t included in the official run of the show, just in case, it fell into the wrong hands. You need to know if they are doing something for someone’s birthday.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/2.8, 1/60

Slow down and remain calm – “Hey photographer, can you come and capture this for us?” is asked so often at events that this is what I call planning for the unexpected.

The unexpected is when being prepared is still not enough. It isn’t on the run of the show and requires you to adjust. Be sure you are fully aware of the timeline and your main objective. Be sure that getting this quick grab shot doesn’t risk meeting the primary goal.

The most thing that gets under my skin the most is the unexpected. The reason is pretty simple. The difference between good and bad photography lies in the preparation.

What often happens is I am in the middle of setting up for something that requires me to put my cameras into a particular setup. The best example is doing a video with my Nikon D4 cameras. There are so many setting changes that I have them now memorized and saved in the Shooting Memory Bank as VIDEO.

I am in manual mode, and the autofocus to manual focus are two things I can think of right away that are not how I would shoot stills. Cameras have microphones on them, and they are on tripods. If someone were to ask me to shoot something right in the middle of this setup, I have to explain it will take me a good five minutes to be ready, and then I will need more time to set up once again for the video interview I am doing.

When this happens, it isn’t the client but someone else who thinks I am there to capture everything anyone will want.

“I would love to get that photo for you. Can you give me just one minute to make some changes with my gear?” I typically try to say when asked for the unexpected. I only say this when I need a moment to change the gear. “I am sorry, but I need to be getting what I am working on right now for _____________ [insert client’s name] that I was to do for them. I have your shot list I am working on. What can I cut to get this photo?” it is also just as appropriate.

If hiring a photographer, give them a shot list before you sign the contract. Remember, when you ask for those last-minute photos, the professional photographer needs time to adjust–this is why you hired them to remember. If it were that easy, then your smartphone would have sufficed.

Now back to the photographer. Be sure when you are saying no that the reason is that you cannot meet your primary objective versus just being unwilling to be inconvenienced. Do this too much, and you will not appear to be there doing all you can to help the client.

My third camera is often set up for quick reaction to about anything: Auto White Balance, Auto ISO, and autofocus settings for face recognition. I typically use the Nikon D750 for this camera. It has a popup flash, just in case I need it.

Remember, when people ask you to do something at the spur of the moment, do your best to accommodate them, but also let them know you may need a moment to get ready.

How to capture “Golden Light”

by Stanley LearyNikon D4 / Nikon D750
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.3, 1/30

While most people are facing the sunset on the beaches of Hawaii, I like to turn around 180º and face the beach.

Guess what you will find?

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/4.5, 1/25

You will find the Golden Light that you often hear National Geographic Photographers talk about. I love this warm light for portraits.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/4.5, 1/40

Now to the naked eye, it was a lot darker than it appears in these photos. It was dark because the sun had set and was just below the horizon.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1000, ƒ/2.8, 1/25

Here I captured the look back towards the sun. All these photos are taken within a 5–minute window of time.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 8000, ƒ/4.5, 1/100

How do you capture this light? Well, while you see this sunset, just turn around, and the Golden Light is everywhere you see. I think it looks best by having subjects not quite looking straight at sunset. Have them turn slightly 45º to 90º to the light. If you have the camera 90º in the evening, you have some of the most beautiful light I know of capturing.

I think it beats the window light. By the way, if you don’t want to stay up for the sunset, you can get up early, capture the sunrise, and get similar results.

Theater photography with Sigma 120-300mm ƒ/2.8 DG OS HSM | S

by Stanley LearyNikon D4
 
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 5000, ƒ/2.8, 1/1000

I love using the Sigma 120-300mm ƒ/2.8 DG OS HSM | S to shoot things other than sports.

My daughter is in the high school theater, and I am getting many opportunities to capture her and her friends on stage. In a few years, she will be off to college, and these photos of her performing will be even more valuable to our family.

She is in the center in the photo above, playing a blind girl.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 12800, ƒ/5.6, 1/640

Why is the lens what I like so much? It is a zoom. I never know if I need a tight or wide shot of the stage. By being an undersized back shooting over the audience, I can get those closeups and not miss wider shots.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 5000, ƒ/2.8, 1/1000

In theater, you may have just a few actors or many in a scene. Sometimes I need a little more depth of field, and other times I need a shallow depth of field. The lens lets me open up to ƒ/2.8 and close down as required.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 5000, ƒ/2.8, 1/1000

The audience was smaller for the first four photos, and I was much closer to the stage. But another play, I was in the very back of the room. I used a Sigma 2X converter to change the lens to 240-600mm.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma 2X, ISO 4000, ƒ/5.6, 1/250

Had I been shooting with my Nikkor 28-300mm, I would have to use ƒ/11 if I put a 2X converter on it, but I was shooting at ƒ/5.6 with the Sigma.

There are many times when I need this specialty lens. Maybe you only need it once in a while. If that is the case, then rent the lens. I decided I used it enough to justify buying the lens.

The key to getting the photo is sometimes has the right gear for the situation. Consider the Sigma 120-300mm ƒ/2.8 DG OS HSM | S for more than just sports.

Mixed lighting assignment comparing TTL Hotshoe to Studio Strobes

by Stanley LearyNikon D4
 
Nikon D4, Nikkor 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/8000—Off camera fill-flash using the Nikon SB-900. The Pocketwizard radio remote triggers the flash. 

Today I taught the students the difference between studio strobes using them outside for lighting and using a TTL Hotshoe flash.

I love the photo at the top with the ƒ/1.8 look.

Now, all these test shots show the difference between the lights. Not so much about finding a great location–now, seeing these, I should have spent more time scouting before the class to find a great background.

Click on the diagram to see a larger one.

Before we added flash, we took one photo as the light was on the subject.

Nikon D4, Nikkor 85mm ƒ/1.8G, ISO 100, ƒ/2.8, 1/1000

So this is where we started with no light, just the available light.

Nikon D4, Nikkor 85mm ƒ/1.8G, ISO 100, ƒ/11, 1/250–Off camera Alienbees B1600 powered by Vagabond.

Here for this photo, we took the first photo and transferred the settings using a sync speed of 1/250. Instead of the same exposure, we underexposed by -2EV. I wouldn’t say I like the background as sharp as it is here. However, I like the shallow depth of field in the first photo.

Now you can see the advantages of TTL Hotshoe flashes, and the benefit of the studio strobe is shooting faster [less recycle time]. 

Nikon D4 and D750 shooting Hawaiian Fire Dancer

by Stanley LearyNikon D4 / Nikon D750
 
Nikon D750, NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 5000, ƒ/25, 1/40

I went out to shoot with strobes last night to show the students how to use a fill flash.

We set up a strobe to take some photos. This top one was without the strobe, which was a pleasant surprise to me.

Nikon D750, NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/7.1, 1/60

Here you can see us setting up. Only one of those strobes is going off at a time. So we had two strobes set up the same way, giving more people the opportunity to shoot.

Click on the diagram to see it larger

Here is one of the photos using this setup here.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 100, ƒ/7.1, 1/60

If I had been shooting this for myself, I would have had even more options and maybe an even better photo. Instead, I shot a few and gave the students time to shoot the same setup on their cameras.

We used Pocketwizards to trigger the strobe.

Before you use the studio strobes–See the light first

by Stanley LearyNikon D4 / studio lighting / studio photography / studio strobes
 
Nikon D4, 85mm ƒ/1.8G, ISO 5000, ƒ/1.8, 1/250

Today was the first class of lighting I was teaching to the School of Photography at the University of Nations in Kailua-Kona, Hawaii. I asked one of the students to be my model.

Bethany is helping me as the model for the first assignment on Rembrandt lighting using just one light with a 10º grid on the Alienbees studio strobe.

The top photo is the first photo I took showing what the fluorescent room light looked like before we used lights.

Nikon D4, 85mm ƒ/1.8G, ISO 12800, ƒ/1.8, 1/250

The first thing I did was turn all the lights off in the room except for the modeling light that is on the Alienbees with a 10º grid on it. Then, rather than jumping into shooting with the strobes, I showed the class you could see what you are going to get with the strobes using the modeling light.

Here you can see the triangle on the cheek, which is the classic Rembrandt lighting with a little twist of me not shooting her looking straight on but slightly behind her.

To see the rest of the assignment, you can go to an older post that walks you through the Rembrandt light exercise. Here is that link

Before using flash, you need to see what you are trying to create.

A week of photographic communications class in Kailua-Kona Hawaii

by Stanley LearyNikon D4
 
Nikon D4, 14-24mm, ISO 400, ƒ/2.8, 30 sec

Today I wrap up a week-long training of young photographers from nine different nations who were part of the School of Photographic Communication at the University of Nations here in Kailua-Kona, Hawaii. The photo above is on The Big Island.

I started the week by taking some tourist photos around The Big Island. I had never been to the top of Mauna Kea. Above the clouds, the night skies are often clear and bright, rivaling any other stargazing location in the world!

Nikon D4, 28-300mm, ISO 12800, ƒ/8, 1/50

This photo is of most of the students and staff at the school. We spent much time at the computers this week rather than behind our cameras because I taught them how to use Adobe Lightroom.

Fujifilm X-E2, 18-55mm, ISO 6400, ƒ/4, 1/140

The purpose of this school was to teach not just photographic skills but leadership skills. Paul Childers is one of the school’s founders and leads her to the class on some of the skills for teams.

This class will teach photography, some lighting, a little video, design, and leadership skills so these students can lead communication teams overseas to help document things like human trafficking, orphanages, and other social justice issues.

Fujifilm X-E2, 18-55mm, ISO 6400, ƒ/3.6, 1/210

I chose to break up some of the Lightroom with what I call sidebar topics on photography. I showed them how to use off-camera flash, and I Skyped in three-time Pulitzer prize-winning photographer Anacleto Rapping.

The class is going to the Southwestern Photojournalism Conference in Fort Worth, TX, next month to participate in the student workshop and the rest of the conference.

I offered to meet with each student one-on-one and discuss whatever they wanted to ask me. Here are some of the students who took me up on that offer.

Fujifilm X-E2, 18-55mm, ISO 1000, ƒ/2.8, 1/500

Nadia Otake is from Brazil.

Fujifilm X-E2, 18-55mm, ISO 640, ƒ/3.6, 1/500

Ana Cláudia D’ Carlos who is also from Brazil.

Fujifilm X-E2, 18-55mm, ISO 1600, ƒ/4, 1/500

Joyce Schoonenberg is from Netherlands.

Fujifilm X-E2, 18-55mm, ISO 5000, ƒ/3.6, 1/500

Lisa Peter from Germany also showed me some of her photos.

Fujifilm X-E2, 18-55mm, ISO 6400, ƒ/3.6, 1/20

It has been a fantastic week to get to know the students, see their work, and see their passion for using photography to tell stories of people around the globe.

Teaching helps me grow so much. The students’ questions are intentional and make you think about why you do the things you do. Is this the industry standard, or is this my preference? I don’t want to mislead them and think this is how you have to do something when other photographers do it another way and are thriving.

There is a synergy when you get this many people together studying photography. They are not just learning from the instructor; they know from one another. As this school is doing here, I cannot recommend the value a class with working professionals can make in your life.

They have already had Gary Chapman teach. They also have Robin Nelson, Greg Schneider, and Esther Havens coming later to teach them. Every one of the speakers has already said they wanted to be in the class and hear the other speakers as well.

If you are interested in this type of class, then click here to learn more.

Check back to see how my last day went with the students.

Photography isn’t all about sunshine

by Stanley LearyNikon D4
 
Fujifilm X-E2, Fujinon 18-55mm, ISO 1250, ƒ/6.4, 1/500

I love sunrises and sunsets as much as anyone else. To me, they signify new beginnings and bring a sense of hope and peace.

Fujifilm X-E2, Fujinon 18-55mm, ISO 400, ƒ/6.4, 1/1800

While teaching here on The Big Island of Hawaii, I took a trip or two after class. Here I drove to Waipi’o Valley and was experiencing the socked-in fog weather. By the way, “Waipiʻo” means “curved water” in the Hawaiian language.

Just as sunrises and sunsets evoke emotion within us, so too do other types of weather. This means that if you only take your camera and shoot on those sunny days, you are missing so many other great opportunities to capture moments that can be peaceful or even catch the turbulence of our lives.

Fujifilm X-E2, Fujinon 18-55mm, ISO 640, ƒ/6.4, 1/500

You may need to dress for the occasion and be prepared to protect your camera from the elements.

Fujifilm X-E2, Fujinon 18-55mm, ISO 3200, ƒ/8, 1/500

I believe that photos like this of the lady on the bench at sunrise are photos that invite the audience to soak up the moment and want to be there themselves.

I like to think of these as invitation photos–travel photos that invite you to come and experience the place’s grandeur. So take a seat and relax.

Nikon D4, 14-24mm, ISO 110, ƒ/14, 1/250

Some photos can communicate to the audience to stop and smell the roses.