I just drove up tonight to Mauna Kea and took a few photos. Here is one where I used my cell phone’s LED light to paint the branch in front of me.
Here it is without light painting.
There were four of us driving around the Island, and I wanted a memento photo of the group. So I decided to pull out my Neewer TT850 and the Neewer 433MHz Wireless 16 Channel to light the group.
I used the MagMod system to hold a CTO +1 gel in front of the flash.
A couple of my close friends have just gotten engaged. While I do not promote myself as a wedding photographer, I will do them for close friends.
I offered to both of them to shoot their weddings as a gift.
Anytime I have done this in the past, most people think about it and get back to me. But, of course, one of the first decisions the couple makes together is our wedding plans.
Great News!
Nikon D4, 28-300mm, ISO 200, ƒ/8, 1/200
My first friend wrote back and said:
Stanley,
This is beyond kind and generous of you to offer your services to us!! We have already been so blessed through this process by so much outpouring of peoples love and generosity.
We want to find the perfect fit with the perfect style to capture the most important day of our lives. Currently we are looking at all our planning options and haven’t gotten that far in the process. We will get back to you in a few weeks once we decide.
Thank you again for this wonderful and generous offer of your talent and time!
I was pleased that they didn’t say yes right away. The client was not rushing, which means they are not trusting the most significant event in their lives to anyone.
How can I get all my clients to be more concerned about photography for their business, as this couple is about their wedding?
Nikon D4, 14-24mm, ISO 2500, ƒ/5.6, 1/60
My second friend wrote and communicated a little more about their concerns:
Stanley,
We are very grateful with the offer. We have just a question. Have you ever shot a wedding? My fiance has only seen you as a sports photographer, but I thought I’d ask.
Maybe you can send us examples for her.
Many photographers might get upset thinking they cannot even give away their services, but what I was pleased about is my friends as the ones that do know the difference between just having anyone document their big day. They are willing to pay versus free if they think someone is a better fit.
Nikon D3, 24-120mm, ISO 200, ƒ/14, 1/80
The key is ensuring you talk with your client’s projects like they are as important as a wedding. In some ways, they are more critical because business photos need to help give a Return On Investment [ROI]. Of course, you don’t need wedding photos to get married. But they are nice to have.
When people do not jump at free, you know they care, and you are not just a commodity. They will appreciate your talent more when they say yes than those friends who even ask you to do it for free.
It is the beginning of a new year, and we need to look back for a great perspective on the year ahead of us.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma 2X, ISO 12800, ƒ/5.6, 1/160
Aeneas Demetrius Williams is a former American football cornerback and free safety who played with the Arizona Cardinals and St. Louis Rams of the National Football League (NFL). He was the featured speaker at the FCA Chick-fil-A Peach Bowl Breakfast — at Atlanta Marriott Marquis. Aeneas said his strength is the ability to forget about a bad play and focus on what is happening right now. He can move on where many players go down a spiral of bad plays because their head is on what they screwed up and not on what they need to do. That is an excellent message for all of us at the beginning of the New Year. A New year is a time for a new start, and the reality is we should always be looking at what we can do rather than what we could have done.
Nikon D4, 14-24mm, ISO 100, ƒ/8, 1/500
We must choose between two paths or more. Which direction will you take in the year ahead?
Nikon D4, 28-300mm, ISO 800, ƒ/9, 1.3 sec
Where do you want to go?
Take a moment and look around you and be realistic. What are some places where you see the potential for growth that the community needs–not just what you want to do? Then, bounce these ideas off a few people for their perspective and listen.
What is missing in the portfolio?
Once you have an idea of some things you want to pursue, take a moment and review your portfolio. Does your portfolio show you have done what you want to propose to clients and potential customers?
Find the personal project.
Take the time to create a portfolio of work and specifically show what you can do if given a chance. Very few clients, if any, will provide you with the opportunity to shoot something for them that you haven’t done before. So go and create a work package showing what you can produce. A couple of things happen once you have made a package that will be in your portfolio that offers all you can do. First, you may get people’s attention to want you to do this for them. Since you have done this before, they may give you more creative control since they haven’t managed a project like this before.
Create a plan and timeline
Once you have an idea, then execute the idea. You need to get that unique project on the calendar now, not in a couple of months, or you are losing time to show clients. Find a way that you can execute your creative concept efficiently. Try and minimize all the variables that you will not have control over. For example, you may want to shoot something in your hometown or backyard instead of traveling worldwide.
Make 2015 a Remarkable Year!
This time next year, you want to be able to say that you did something new and different this year to stretch and grow.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/2000
These are just photos from my daily coverage of the Chick-fil-A Peach Bowl held at the Georgia World Congress Center and the Georgia Dome.
It starts early in the morning, covering the FanZone before the game. FanZone is where fans can have fun at different exhibits.
Nikon D4, 14-24mm, ISO 12800, ƒ/5.6, 1/250
The fans also see their teams and coach up close during the team walks.
Nikon D4, 14-24mm, ISO 12800, ƒ/5.6, 1/100
Bowls are not just about the game. Bowls are where fans travel a long way, and the cities that host these significant events do everything they can to welcome them and make them feel like this was a remarkable experience.
It is not just to show something happened; it is essential to show how fans emotionally connect with the city and each other.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/800
One of the most challenging things to cover for a sports photographer is a blowout, or maybe even just a low-scoring game comes close.
Why is this so hard? First, the offense looks like they are the only ones on the field. The defense isn’t up on the offense, giving pressure, which shows competition and creates excitement with the photos.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1000
I shot ten excellent photos before the defense caught up with the offense in this play. TCU’s wide receiver #7, Kolby Listenbee, was wide open and had a lot of room between him and Ole Miss before they finally stopped him.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1600
After editing some 2000+ images from the day, I can tell that TCU’s defense was always moving toward the ball, as you can see in their pursuit of Ole Miss’ quarterback here. Compare this to the Ole Miss player watching the play in the photo below.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1600
I took the time to move around to the press box to get the different angles of the game and halftime.
Nikon D4, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 4000, ƒ/2.8, 1/2000
Capturing the branding of the Chick-fil-A Peach Bowl helped to quickly distinguish this photo from a typical game and other games.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [550mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/1250
The one thing I like about the game is the logo is on the uniforms, so even when you shoot a tight photo, you capture the Bowl Game distinction.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [360mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/500
On paper, I thought this would be one of the better and closer games that the Chick-fil-A Peach Bowl has held. Last year’s matchup between Duke and Texas A&M, to me, on paper, was going to be the blowout. That game was the 4th best-rated game for the entire season.
Ole Miss Rebels’ defense was ranked first in the nation, with its average of only 13.8 points allowed. The TCU Horned Frogs fielded the nation’s most improved offense in total yards and scoring this season and set new school records for points, passing yards, and total offense. How could this not be a great game?
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S [600mm], Sigma 2X, ISO 12800, ƒ/5.6, 1/800
The Horned Frogs delivered one of the most telling statements of the 2014 bowl season by demolishing No. 9 Ole Miss 42-3 in the Georgia Dome. They did it against one of the most formidable defenses in the country, and they silenced critics who questioned TCU’s spot among college football’s premier programs.
Technical
I have been using the Sigma 1.4X and 2X converters.
I do know that not using this will render even sharper photos. Sigma has new converters, but they have yet to make it to the camera distributors. I hope to upgrade my converter and possibly get better results.
The new version only works on a couple of lenses and is specifically designed for the Sigma 120-300mm ƒ/2.8 DG OS HSM S. Stay tuned for when I finally have one and can test this.
Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM w/ Sigma 2x, ISO 5600, ƒ/5.6, 1/100
This morning I was covering the FCA Chick-fil-A Peach Bowl Breakfast at the Marriott Marquis, where the TCU and Ole Miss football teams were enjoying the master of ceremonies, Ernest Johnson, Jr., a sportscaster for Turner Sports.
Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM w/ Sigma 2x, ISO 12800, ƒ/5.6, 1/200
Aeneas Demetrius Williams is a former American football cornerback and free safety who played with the Arizona Cardinals and St. Louis Rams of the National Football League (NFL). He was the featured speaker today at the FCA Chick-fil-A Peach Bowl Breakfast — at Atlanta Marriott Marquis.
I was trying to ensure I captured the number of folks at the event, the new logo for the Bowl this year, and a couple of moments here and there.
This wide shot is from the same place I shot the two top photos. The difference is a 14mm lens vs. a 600mm lens.
When you are in a banquet facility where the room size is a football field, you need to bring the exact glass you would cover for a football game. Due to logistics, you need the long glass because you cannot get the subject to fill the frame enough from some places you need to position yourself.
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 12800, ƒ/4, 1/2000
As we get older, we need to go to the eye doctor. People ages 20 to 30 should have an eye exam every two years unless visual changes, pain, flashes of light, new floaters, injury, or tearing occurs. Then, immediate care is necessary.
Yearly exams become essential in the late thirties when changes in vision and focus, along with eye diseases, are more likely to develop.
Your camera lenses are probably less likely to change in focus just from aging alone, but heavy use will affect the lenses.
[cropped version of the above photo] Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 12800, ƒ/4, 1/2000
After getting my new Nikon D750, I calibrated the lenses I own to the camera. I also decided to check one lens before the big Chick-fil-A Peach Bowl game on New Year’s Eve.
Just to remind you, anything in front or behind the book should be slightly out of focus. However, if the points in front or slightly behind are sharper than the book cover, this is when you need to make adjustments either to the lens or the camera fine-tune focus adjustments.
The Sigma 120-300mm ƒ/2.8 DG OS HSM S can be fine-tuned and calibrated for 16 different focus points using the USB dock and software you put on your computer.
This USB dock also lets you update the firmware on the lens.
So I took a couple of hours to shoot, make adjustments and then reshoot targets to get the lens in focus.
I then check all the cameras again with the camera.
Just like you need to see an eye doctor to adjust your prescription, take the time, check out your camera, and fine-tune focus the lenses. You will be surprised as to how sharp your lenses really can be.
This photo is another example of exposure to the sunset, which creates a silhouette of a person and then uses your flash to reveal the subject.
Most photo books call this Fill-Flash, but the silhouette reveals language that Dave Black coined, which I think describes what is happening better. That is because the flash here becomes the leading light, not a fill light.
Here is the lighting diagram for the photo above. I also have a CTO +1 gel on the flashes. The MagMod system is holding the gels in place.
Here is the photo without the flashes. How I wish I had the outfit behind the dancer in this photo and the other image.
Nikon D4, 14-24mm ƒ/2.8, ISO 200, ƒ/16, 1/200 with 2 Alienbees with CTO 1 for off camera flash. I am triggering these with the Pocketwizard Radio Remotes.
I went back, looked through my assignments from just this year in still images, and pulled some of my favorites. It had me jumping for joy.
I feel blessed this year.
Take a look at some that I pulled from the year in this package:
While I did everything from Sports, Portraits, Studio, Travel, Events, Theater, and others that I cannot remember, I did video this year.
[NIKON Z 6, 24.0-105.0 mm f/4.0, Mode = Manual, ISO 100, 1/125, ƒ/4, (35mm = 105)]
I had coffee yesterday with my good friend Robin Nelson [http://assignmentatlanta.com/]. Robin is one of the few freelancers that I know that most of the time is in good spirits.
When staff photographers lose their jobs many of them will call Robin and some have even called me looking for advice. He is always working for someone and has done so for more than 30+ years. Staff photographers basically want to do what Robin is doing–shooting assignments.
Successful photographers like Robin do something for other photographers–they bless them with the jobs they get called to do and cannot.
Robin gets calls and emails asking him if he is available and instead of just accepting and turning down assignments Robin solves the clients problem. If he is busy he finds someone for the client. Editors come to see Robin as not just a great photographer whose style they like, Robin knows other photographers who can meet their needs if he is busy.
I know of a few other photographers like Robin. Michael Schwarz, Billy Howard, and Gary Chapman are three other photographers I like referring work to when I cannot do it.
We all have these conversations with those who just lost a job or even newbies to the industry.
After our coffee time I decided it would be great to share what Robin and I would like to tell Staff Photographers who just lost a job.
Tips:
1) Losing the staff job is like going through a divorce. Being on a staff is like being married and being a freelancer can feel a lot like being single again. We recommend using those same techniques you used to court someone. Just like seeing and meeting a drop dead gorgeous person that you are sure God had destined for you, that person may not be aware God told you that.
2) The movie “Runaway Bride” is a predictable, but fun romantic plot about the importance of knowing and loving oneself before beginning the journey of marriage. You really need to know all that you have to offer to a client and not just your portfolio. Maybe you are a history buff and this can be a great asset to some clients.
3) Accept Rejection – Derek Jeter during interview about his career said he was really blessed to have a job that allowed him to fail 70% of the time and consider him successful. Successful business fails more like 85 – 90% of the time. Good rule of thumb is that for every 10 people you contact only 1 of those will be interested.
Jane Yandel Senior Photos [Nikon D4, Nikkor 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/400]
4) Court your clients – Don’t ever take your clients you have for granted. Keep the fire in the relationship.
5) Ideas are more important than your portfolio. All your clients and potential clients have a job to do. They have a problem to solve. You pitching ideas that solve their problems and not your perception of what their problems are is what will keep you busy. While great stories should be told, the channel for telling that story is not every channel. Just because you find a story in the clients audience it still must address the problems that they are tackling at the moment.
Honduras Outreach
[NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 3200, 1/250, ƒ/6.3, (35mm = 65)]
6) Learn how to be a REAL friend. Number one key element to a good friend is someone who “listens.” You know they listen because all the words out of their mouth after you have talked communicate understanding and compassion for where you are in life. Calling and pretending to be interested in wanting to know me and because I don’t have a job for you right away you never call again is a great indication you are shallow and only interested in yourself. The client needs to be someone they can trust with their problem.
7) Don’t call only to ask about work. Contact your clients when you hear of something they may be interested in. Send them a card on their birthday.
8) Don’t become a problem. When the client calls and offers a job say yes you can do the job or no. Don’t start telling them all the things you need to move around. Do your very best to solve the clients problem without them knowing you had to get a babysitter or move some personal plans around. Saying I need just a minute to check my calendar and can I call you back in 5 minutes is OK. Then call in five minutes. Take that 5 minutes to solve your problems to accept the assignment, or find someone who can and then call them. I am sorry I am booked but my friend Michael Schwarz is available will be better than babbling on about your problems on the phone or even in emails to them.
9) You are starting over. If you have been shooting 6 – 8 assignments a day or even just one a day those days are over unless you get a staff job. Extremely successful photographers are maybe shooting 100 assignments a year. That is averages to about 2 a week. Starting out you may only have a few assignments that first month. You also will have times of feast and famine. You may work really hard for a couple weeks and then go a month or more with little or no work in those first few years of freelancing.
10) Find a mentor who is a successful photographer. Be sure you treat them like a friend and don’t just use them. Offer to take them to lunch and you plan on paying for their meal. Don’t try and get everything for free from your mentor. Remember they are giving you valuable information that will not just save your money but help you make more money.
Here are more posts that talk about business tips as well:
Decision Magazine hired me to follow UGA head coach Mark Richt and his wife, Katharyn Richt.
If it worked out, I was to try and get photos of them together. That never happened, but I stuck with the coach and his wife the day.
Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, Sigma 2x EX DG APO Autofocus Teleconverter, ISO 1250, ƒ/5.6, 1/2000
I arrived early and met Katharyn before sitting in the stands.
Nikon D4, 28-300mm, ISO 900, ƒ/5, 1/2000
While this will win no awards, it starts with the safe shots to be sure I had some excellent expressions.
Nikon D4, 14-24mm, ISO 400, ƒ/16, 1/500–Nikon SB900 fill flash -1EV
I liked this photo much better even though I could not see her face. She is doing what she does every game to help support the team and Mark.
The magazine picked that photo and one more of Mark interacting with one of the players.
Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, Sigma 2x EX DG APO Autofocus Teleconverter, ISO 1600, ƒ/5.6, 1/2000
Now at this point in the season, the top running back in the country is UGA #3, Todd Gurley. I tried to get a photo of him with the coach. The best I did that day was this shot, but the ƒ/5.6 was too shallow to show Mark clearly in the photo in the background.
Nikon D4, Sigma 120-300mm f/2.8 DG OS HSM, Sigma 2x EX DG APO Autofocus Teleconverter, ISO 450, ƒ/5.6, 1/2000
Mark Richt is on the far right with a headset. Well, I just missed it. A few days later, the suspension by the NCAA came out, so he was definitely out of the magazine piece. It would have pulled the attention away from the storyline.
I wish I had taken a before photo so that you could see the lack of light on the statue in the background. The sculpture helps inform you that this is a Catholic school, not just a prep school.
Another problem is when the student reads, the sun is above, and her face is in the shade. Her head looking down is similar to wearing a ball cap; it creates a shadow on her face.
I added two strobes using a grid on each of them. One light is to light the student, and the other is to illuminate the sculpture.
Here is the setup for this photo:
I underexposed the scene about -2/3 of a stop. Then I just was sure that the flash on the student’s face was around ƒ/8, and on the statue, it was more like ƒ/10 to help lighten it up just a bit more and support this not being in the shadows but help add value to the photograph.
Nikon D750, 28-300mm, ISO 100, ƒ/11, 1/200–Studio Strobes
100% view of the above photo
I decided to shoot some known variables and compare the Nikon D750 to my Nikon D4. The reason is this is what I own. The first two photos are from the Nikon D750. One is full frame and the other 100% view.
Nikon D4, 28-300mm, ISO 100, ƒ/11, 1/200–Studio Strobes
The first thing I was reminded of is the 100% view is much looser than the Nikon D750 as compared to the D4. The reason is the Nikon D750 24 megapixel compared to the Nikon D4 16-megapixel chip.
I would say from my perspective that the Nikon D750 at ISO 100 is a much cleaner and better resolution file. To me, this is significant to note. Most all cameras at the lowest ISOs tend to be very similar in quality. However, I am noticing a difference in the low ISO.
Nikon D750, 28-300mm, ISO 12800, ƒ/9, 1/200–Available light
100%
Keeping the camera on a tripod, I didn’t use the studio strobes and even turned them off and used the ambient room light to shoot these at ISO 12800. Compare this to the Nikon D4 photos below.
Nikon D4, 28-300mm, ISO 12800, ƒ/9, 1/200–Available light
100%
There is a little difference between the two at ISO 12800, but the difference is about $3,800, with the Nikon D4 price I paid costing about $6,000.
I would say from these charts that the Nikon D750 will do as well, if not better, than my Nikon D4 in low-light situations.
Nikon D750, 28-300mm, ISO 100, ƒ/11, 1/200–Studio Strobes
100%
I wanted to compare something more like what I might shoot with this little soldier we have. I use a lot for just these types of comparisons. What impressed me the most was how smooth the pixels appear with the Nikon D750.
Nikon D4, 28-300mm, ISO 100, ƒ/11, 1/200–Studio Strobes
100%
Regarding the real-world shooting, I believe the only significant difference between the D750 and D4 at a low ISO is the resolution difference of 24MP vs. 16MP. So for the majority of uses for my clients, they would probably see the difference.
Nikon D750, 28-300mm, ISO 12800, ƒ/9, 1/200–Available light
100%
I was very pleased with the Nikon D750’s performance again at ISO 12800.
Nikon D4, 28-300mm, ISO 12800, ƒ/9, 1/200–Available light
100%
As you can see, the Nikon D4 isn’t as cropped at 100%, but that is due to the 24MP versus the 16MP chip difference. I am having a hard time telling the difference between the two at ISO 12800, so for those who want a full-framed high ISO camera, then the Nikon D750 is a steal at this price.
There is one downside that I have noticed when comparing the two cameras. Inside the viewfinder, the Nikon D4 tells you more information at the bottom of the viewfinder. You know what mode you are in, which is missing in the Nikon D750.
