Category: Nikon D750

If the eyes are the windows to the soul …

by Stanley LearyNikon D750 / Portraits
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 1250, ƒ/1.8, 1/200

My mentor Don Rutledge said the the eyes are the windows to the soul. When I am really connecting with another human being in conversation I am very much aware that we are locking in on each other’s eyes.

We are allowing the other person into our world as well as they are letting us see into them.

I have even written previously that eyes are so revealing that this is where we truly smile.

For this blog post I want to emphasize how important it is to have the eyes in focus for portraits. Keep the eye closest to the camera in focus.

I believe if everything is out of focus except the eyes you can have a very successful portrait, but if they are out of focus it really can be quite disturbing.

In the first photo the eyes are pretty much the only thing that is in focus. I think this is in many ways what can draw you to the eyes and help the audience connect with the subject.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/4, 1/200

Notice that by just closing down the aperture, which creates more depth-of-field that now your eyes tend to look are more of the face than in the first photograph.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/4, 1/200

I believe that inside this square is the most important part of a portrait. You can capture the essence of the person where as outside of this square just helps to add more information. It compliments this core of where the audience and the subject will connect.

While the famous war photographer Robert Capa said, “If your pictures aren’t good enough, you aren’t close enough.” I believe this also applies to portraits.

Get as close as your lens will focus with your subject. Try that and see what kind of results you get.

What happens when you get as close as the lens will focus?

There are a few things that take place when you get as close as a lens will focus. Technically your depth-of-field gets even more shallow. This will mean that you will help bring even more emphasis to the eyes than any just about any other thing you can do once you have the aperture wide open. The other way is to light the eyes more than the rest of the face.

Another HUGE thing that happens when you get this close you will either make your subject quite uncomfortable or if you have built trust you will be let into their world even more. We call this getting into their intimate space.

Here is information that will help you understand how this can impact your photos from Wikipedia:

Click to see larger

In 1966, anthropologist Edward T. Hall identified four zones of personal space that residents of the United States of America like to maintain around them:

Intimate distance: extends roughly 18 inches (46 cm) from the individual and is reserved for family, pets and very close friends. Displays of affection and comforting are commonly conducted within this space. The only strangers an individual typically accepts within his or her intimate space are health care professionals.

Personal distance: extends 1.5 to 4 feet (0.46–1.22 m) and is reserved for friends and acquaintances. A handshake will typically place strangers at least 2 to 4 feet (0.61–1.22 m) apart, preserving the personal distance. However, a friendly kiss on the cheek by a woman as a greeting is widely practiced.

Social distance: extends from about 4 to 12 feet (1.2–3.7 m) and is used for formal, business and other impersonal interactions such as meeting a client.

Public Space: extends more than 12 feet (3.7 m) and is not guarded. Secret Service agents will commonly attempt to ensure 12 feet (3.7 m) of open space around dignitaries and high-ranking officials.

Now my Nikon 85mm ƒ/1.8 has a minimum focus distance of 2.6′, which is inside that personal space zone for Americans. Funny but did you know that most 50mm lenses minimum focus distance is 18″? I wonder if this is how they discovered the intimate zone?

I believe that if you are inside 4 feet for Americans you are getting more intimate photos. It is quite difficult to get intimate photos if the photographer isn’t able to be intimate with the subject using the camera.

Conclusion:

  • Focus on eyes and specifically the one closest to the camera
  • Get close as your lens will let you to get truly intimate photos
  • To be allowed through the window into the soul you must build a rapport with the subject
  • You must allow the time for all this to happen

If the eyes are the windows to the soul … 

THEN MAKE THEM POP!

Quick Passports using Nikon D750 and Sigma 24-105mm ƒ/4

by Stanley Learyalienbees / Nikon D750 / Passport photos

Here is the gear I used to create these passport prints

  • Nikon D750
  • Sigma 24-105mm f/4 DG OS HSM Art Lens
  • 5 Alienbees B1600
  • 30º Honeycomb Grid for 7″ reflector
  • Paul Buff Beauty Dish – 22-inch diameter, bright white reflector with a white sock
  • Paul Buff 86″ Extreme Silver PLM™ with On-Axis Speedring Mount
  • Pocketwizard Plus System
  • Epson PictureMate Charm to print
  • Adobe Lightroom CC
Here is the setup for you to see in my basement studio:
The lighting was set to the lowest output on all the flashes to start the process. After I did this, the ƒ-stop was ƒ/8 on my face. The background was a little brighter. After a few test shots, I bumped the background under ƒ/11. This gave me a pretty clean white background.

After ingesting the RAW photo, I processed and output it to a JPEG, and this is the one I chose. Here is a bird’s eye view of the setup.

Go to this website created for US Passports.

http://travel.state.gov/content/passports/en/passports/photos/photo-composition-template.html
All the technical specs are here to help guide you. In the far right lower corner is a “Start Photo Tool.” Click on this, and you will see this:
Click on the bottom button, “Choose Photo,” and then find the photo you took. Next, after you do that, you will see something like this:
Now, use the slider to fit the head into the guide.
Here is how it will look for you unless you have hair. Well, hair doesn’t matter; keep the face the size of the outline.
Click on the crop at the bottom.
Once your photo looks like this, click “Save Photo.”
Import this JPEG into Adobe Lightroom and go to the Print Module as I have done here. I chose the 4×6 print size since I will use the Epson PictureMate to print, which prints 4×6 prints.
I dropped the photo into the print by dragging it from the lower filmstrip to the working area.
In the Add to Package section on the right, I adjusted the photo to 2.05 in. I printed the picture a few times until I got the setting right. You can thank me later for saving you this time.
So, the photo now meets the US Passport office guidelines for size.
Also, to be sure it prints to the printer, you must select Printer under PrintJob; otherwise, you create a JPEG file.
I would also save the print by clicking “Create Saved Print,” as shown by the arrow above, and then you can use this as a template next time.
Also, I let the printer handle the color management since I have already color-calibrated the monitor, and it looks good.
Hit print, then wait for it to print on the Epson PictureMate Charm. The cost per 1 sheet of 4″ x 6″ is 27¢. That includes ink and paper.
Now that you have this system, I recommend trying it and getting everything down. Maybe save this blog post or print it out. Make notes on the setup, and then you are ready to shoot passports.

“How do you describe PhotoShelter to others?”

by Stanley LearyNikon D750

[Caption: Stanley is speaking to the staff at the PhotoShelter headquarters in New York City. Photo by David White]

“How do you describe PhotoShelter to others?” was the question I was asked while speaking to those working at PhotoShelter’s NYC offices.

PhotoShelter is a system for photographers to deliver images to clients and those searching for ideas to find the photographer’s photos.

That is my response to that question. I realized this past week that when I had to ship a strobe in to be repaired that when I logged into my FedEx account, it had been a LONG time since I had used it.

I was used to weekly shipping with FedEx CDs and DVDs to clients. It has been a few years since I have delivered images to clients using FedEx. I now put those images up online using PhotoShelter.

Here are some of the things I use PhotoShelter to do for me:

  • Showcase my portfolio
  • Contact information to reach me for assignments
  • Deliver photos by way of a secure gallery accessed;
    • Password – Link and password can be easily shared
    • Email + Password – this makes it even more secure
  • Clients can order:
    • Prints
    • Fine Art Prints
    • Gallery Canvas Wrapped Prints
    • Cards / Prints with Envelopes
    • Clothing
    • Other products like Key Tag, coffee mugs, etc
    • Rights Managed Stock Photography Sales with pricing supported by fotoQuote
    • Downloads
      • Can control the size from small to the original size

The key thing I like the most is uploading the images once at the highest resolution, adding pricing profiles, and not doing anything except watching the sales and transactions through email updates. 

Touch It Once – Productivity Principle

This is one of the most fundamental principles of productivity and time management. It’s called the “touch it once” principle.

Stanley speaks to the PhotoShelter staff in New York City, and for lunch, they ordered Chick-fil-A. Photo by: David White

When I told the staff at PhotoShelter that I was coming to town, they wanted me to drop by and speak to their team. I have participated in many meetings where Chick-fil-A brought in their operators and customers and asked them to help them learn how to do a better job.

Companies actively listening to the customer will do a better job of getting and keeping clients.

When did you last sit down with your client and ask questions about how you could do a better job?

You may have never done this, but the time is now that you need to act. Take a customer to lunch and ask them what they like that you do and if they have things that they would recommend you do to improve in some way.

Photo by David White

I started my talk with PhotoShelter folks with what do you want to know from me? I did show them my workflow. Here is a blog post that walks through what I shared with them.

I shared some of the work I do. You can find that on my main website here www.StanleyLeary.com.

Kristin, who works with their Libris product, interviewed me on various topics on video and will be using this on their blog and other places to promote their product. I received this email from her after our time together.

Hi Stanley, 

Thank you so much for coming in to talk to the team today. Our staff members loved your talk, and your interview will help us share Libris and PhotoShelter with others. Thank you. 

All the best to you and David – hope you have a nice afternoon in NYC! 

Thanks, 

Kristin

The marketing director also sent me a note.

Hi Stanley,

Great session with the team today. You definitely had their full attention!

Kevin G. Davis 

While I love the product, I was asked what I would like to improve. I shared some of my wishes, which some have already started working on.

I am pretty proud of asking for a dashboard for Libris that helps one dissect how users use the system. Many companies would like to know their ROI [Return On Investment], allowing them to see the product’s value.

Every photographer needs to be recommending to their clients Libris that have a need. Anyone who hires photographers regularly will benefit from having their images online and accessible worldwide.

Having photos accessible for an organization rather than on someone’s computer, DVD in their office drawer, or who knows where can turn those one-time huge budget shoots into multiple usages and stretch those dollars and more than likely have more images used more often with communications for their organization.

The photographer who introduces them to Libris will most likely be their “GO TO GUY” for photography because they are the one who knows how to help them get a better ROI.

Click on this for the personal system.
Click on this for the corporate system

Be sure and tell them I referred you. This helps to support this blog. I recommend PhotoShelter, and here is a link to signup.

Working with a recording artist Sydney Rhame

by Stanley Learyheadshots / Nikon D4 / Nikon D750
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, AC-9, AC-3, PocketWizard Mini TT1, TT5, Paul Buff Vagabond, Alienbees B1600, ISO 320, ƒ/2.8, 1/640

Today I was privileged to work with Sydney Rhame who was on The Voice this year. To get those chairs to turn as she did you have to be comfortable in front of the camera.

Sydney on iTunes.

Here is her Facebook fan page

Sydney needed little direction. I just needed to spend a little time before we started asking what she was looking for in her photos.

This is one of my favorite photos today. I used the high speed sync using he Pocketwizard TTL system with the Alienbees. This let me shoot at 1/640 shutter speed. Here is the lighting diagram.

The trick was to take a few test shots until I was able to get the rich colors in the background balanced with the flashes.

The photo on the left [ISO 100, ƒ/2.8, 1/500] and the right [ISO 320, ƒ/2.8, 1/400]. I also dialed the flash down in power on the right.

This is what I call experimenting to get the look you are wanting.

Nikon D4, Nikon 85mm ƒ/1.8G, AC-3, PocketWizard Mini TT1, TT5, Paul Buff Vagabond, Alienbees B1600, ISO 100, ƒ/1.8, 1/640

I also like to have subjects bring a variety of outfits and let us try a few looks.

This is the setup where I have main light on her face and separate light to just add a little kicker in the back.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, AC-9, AC-3, PocketWizard Mini TT1, TT5, Paul Buff Vagabond, Alienbees B1600, ISO 320, ƒ/2.8, 1/640

For this photo I took the white umbrella off the light behind Sydney to give a little more kick on the hair.

I also believe you really mix up the backgrounds and looks when you are helping someone with things like model portfolios, PR kits for musicians and actresses.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/4, 1/200–Alienbees and Softboxes

Here is more of a traditional headshot.

Now to give a different look that this I just shot with the available light with the same setup.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 1250, ƒ/1.8, 1/200

I believe we were getting some variety throughout the photo shoot. As Sydney and I got more comfortable with each other the expressions just got better and better.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/4, 1/160

While backing up and showing more of Sydney gave a different look, my favorites where up close where you can see her eyes.

 

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 1250, ƒ/1.8, 1/200

When shooting at ƒ/1.8 her eyelashes are not even in focus, just her eyes.

Now shooting at ƒ/4 gave a little bit more depth-of-field.

 

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/4, 1/200

While the shallow depth-of-field looks great it is difficult to get all your photos in focus.

Going for “look” can sacrifice great “moments”

Because you choose to want that silky smooth BOKEH means that you will be tossing out photos just because they are not sharp where you need them to be. Therefore you may lose the best “moment” because the “look” is more important to you.

This is one of the reasons I am not shooting at wide open all the time. I prefer to stop down just a bit to get some leeway allowing me to more likely not to toss out the great “moment” because I missed the focus due to such a shallow depth-of-field.

Use flash outside

By using the strobes outside on an overcast day I was able to help the subject pop and not look flat due to the natural light.

Using high speed sync let me shoot at wide apertures and just crank the shutter speed up to control the available light.

Learning to manage expectations

by Stanley LearyNikon D4 / Nikon D750
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 10000, ƒ/5.6, 1/250

The one thing that helps to calm my fears for an assignment is seeing what the client has gotten in the past from other photographers. I also love it when they tell me how they felt about that coverage.

The best thing you can do before you take on an assignment is to find out what the expectations are of the client for the project. I call this calibrating your creative juices.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.6, 1/160

Before shooting this wedding the parents of the groom showed me the brides sister’s wedding coverage from two years ago. I knew after seeing the other photographer’s work what the standards for their wedding were for their photographer.

They were happy with the photos. I made mental note of the style and then decided to meet that and then to put my own touches onto the images. I was just adding icing to the cake.

Nikon D4, Nikon 85mm ƒ/1.8G,  ISO 2800, ƒ/1.8, 1/100

My strength is finding moments like these here. Capturing the “True Love” of a bride and groom is what I loved doing with this wedding.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.6, 1/60–Pocketwizard AC9 to combine with my Pocketwizard TT5 and then using the phone cord plug into the back of the Alienbees B1600.

I also love making the light look better when needed.

Do you know the expectations of your client? Are you able to not just meet those expectations but give them some images that take the coverage up a notch or two?

Overcast and Gloomy day–No Problem

by Stanley LearyNikon D750 / Portraits
Nikon D750, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 200, ƒ/5.6, 1/125 – [2] Alienbees B1600 triggered with AC9 on Pocketwizard TT5 talking to the TT1 with the AC3 to control the power output from on the camera.

Yesterday it was overcast and really flat lighting. No problem, I just brought the Alienbees and used them to create sunlight for me on the subject.

I basically used the same setup and just moved around the park.

Nikon D750, Sigma 24-105mm f/4 DG OS HSM Art Lens,  ISO 200, ƒ/5.6, 1/125 – [2] Alienbees B1600 triggered with AC9 on Pocketwizard TT5 talking to the TT1 with the AC3 to control the power output from on the camera.

Now there is one more “NEW” piece of gear that I was using this time. I purchased the Sigma 24-105mm f/4 DG OS HSM Art Lens and really loving the lens. It is great for the portrait photographer who needs to do group photos and then also switch to individuals in photo shoots.

It is much sharper than my Nikon 28-300mm before applying the Lens Optimization in Lightroom. This makes a huge difference when shooting video.

Nikon D750, Nikon 85mm ƒ/1.8G,  ISO 100, ƒ/1.8, 1/400 – [2] Alienbees B1600 triggered with AC9 on Pocketwizard TT5 talking to the TT1 with the AC3 to control the power output from on the camera.

While I could have shot these individuals with the Sigma 24-105mm I decided to shoot these with the Nikon 85mm ƒ/1.8. Since the AC9 lets me shoot at any shutter speed with my Alienbees I was able to shoot at ƒ/1.8 with no problem. I just cranked up the shutter speed to 1/400.

Nikon D750, Nikon 85mm ƒ/1.8G,  ISO 100, ƒ/1.8, 1/400 – [2] Alienbees B1600 triggered with AC9 on Pocketwizard TT5 talking to the TT1 with the AC3 to control the power output from on the camera.

I love the BOKEH on these photos.

Nikon D750, Nikon 85mm ƒ/1.8G,  ISO 100, ƒ/1.8, 1/400 – [2] Alienbees B1600 triggered with AC9 on Pocketwizard TT5 talking to the TT1 with the AC3 to control the power output from on the camera.

Having the right gear on an overcast day can give you the results you desire. You are in control.

Don’t just click the shutter – Learn to click with people

by Stanley LearyNikon D4 / Nikon D750

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 560, ƒ/8, 1/100

“It is more important to click with people than to click the shutter.”

– Alfred Eisenstaedt

Yesterday I talked with the family after the wedding and was told they were thrilled to have had me at their wedding. They said it felt right to have me there and thought I was just part of the family.

It was also important to them to tell me on the day of the events that my presence made them relax and enjoy the wedding. They knew I would get every photo they needed, which made them realize they could look back later and enjoy it.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 400, ƒ/3.5, 1/6

The wedding was for a client who has hired many photographers in their line of work through the years. They had hired some of the more famous photographers. The groom’s parents wanted it covered well, and at the same time, they wanted someone who would fit in with the two families coming together.

Over the past seven years, this person has watched me create teams of photographers covering events like the Chick-fil-A Bowls and Chick-fil-A Kickoffs. They watched me work and cover annual meetings for corporations. I continued covering events and strategizing about other coverage types to help with communication projects.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 200, ƒ/5.6, 1/200–2 Alienbees B1600 bouncing off the ceiling for lighting.

“If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.”

– Eve Arnold

I wish I had customers who told me nice things about myself or my work. You might also feel that getting said; this is why my photographs a much better than others.

TIP

I hear from many wanna-be photographers all the time. If they would send me that coverage, I could do it. The key is they believe in their minds they are capable, but they haven’t a portfolio that demonstrates they have already done this before.

People do not give you work before you show them you can. You must show us all you can do, and then they will provide you with work.

I demonstrated in every job that I always had their best interests.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 200, ƒ/5.6, 1/200–2 Alienbees B1600

I learned this very early in my life through my faith.

But God demonstrates his love for us in this: While we were still sinners, Christ died for us.

– Romans 5:8

The best thing I can ever recommend to improve your photography and character so that more people want to hire you is finding a mentor that exemplifies all these characteristics. For me, that person is Jesus. 

A few years ago, a bracelet became very popular. It had WWJD on it. It was a simple reminder for those who follow Jesus to ask themselves, “What Would Jesus Do?”

Where is your true North pointing you?

Who’s your mentor, and if you had a bracelet on your arm that helped to remind you what to do in a situation, what would it say? 

Jesus’ first miracle was turning water into wine at a wedding. Weddings are about the commitment to loving someone for a lifetime. This principle is a cornerstone of Jesus’ message–we must love one another.

My goal for my business is to be known for my love and to bring joy into their lives.

Lessons from my last wedding with a second shooter

by Stanley LearyNikon D750 / Wedding photography
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 200, ƒ/5.6, 1/30–Pocketwizard AC9 to combine with my Pocketwizard TT5 and then using the phone cord plug into the back of the Alienbees B1600.

Available light or strobes?

First, I had an excellent second shooter for my last job. Second, Laura Deas Espeut is one of my favorite people to work with through the years.

I asked her to shoot as she usually does and that the two styles would give the bride and groom some options. She did a great job.

Canon EOS 5D Mark III, Canon EF 70-200mm f/2.8L, ISO 640, ƒ/2.8, 1/100

Now I will not make a call as to which is better. This choice is about seeing how each is as much a style choice as anything else.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 200, ƒ/5.6, 1/30–Pocketwizard AC9 to combine with my Pocketwizard TT5 and then using the phone cord plug into the back of the Alienbees B1600.

Here I strobed the group jumping, and then Laura shot about the same time from a slightly different angle with available light.

Canon EOS 5D Mark III, Canon EF 28mm f/1.8, ISO 640, ƒ/1.8, 1/500

Here is another example:

Canon EOS 5D Mark III, Canon EF 50mm f/1.8, ISO 640, ƒ/1.8, 1/800

This photo is Laura’s shot of the bridesmaids with the bride.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.6, 1/30–Pocketwizard AC9 to combine with my Pocketwizard TT5 and then using the phone cord plug into the back of the Alienbees B1600.

I love available light and think if it looks good, it goes with it most of the time. However, every once in a while, I believe strobes can make a photo a lot better.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/8, 1/100–Pocketwizard AC9 to combine with my Pocketwizard TT5 and then using the phone cord, plug into the back of the Alienbees B1600.

Here I had the groomsmen and the groom walk toward the camera in the flying formation. Again, this technique helped them keep their eyes open rather than walk straight into the sun.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.6, 1/400–Pocketwizard AC9 to combine with my Pocketwizard TT5 and then using the phone cord plug into the back of the Alienbees B1600.

Recommendation: Know available light and the ability to create light with strobes or constant light

I recommend that every working pro know how to do both, use whatever you need to get the photo and try to make your work distinguishable from all the competition.

You can never scout enough before the shoot

by Stanley LearyNikon D4 / Nikon D750
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 2000, ƒ/2.8, /100

I am in the suburbs of Chicago, IL, this weekend in the town of Homewood to photograph a wedding for my friends.

At the rehearsal, one of the people said you don’t see photographers at rehearsals.

That is very true. If you are familiar with the venues in your town, you might not need to go to a rehearsal.

However, if you are starting, you want to do what my friend and fellow photographer Randy Wilson does for his weddings and as I am doing here.

Randy and I discovered that by going to a rehearsal, everyone gets to know you and feels more comfortable on the wedding day. That is a HUGE!!! bonus for getting better moments.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 4000, ƒ/3.5, 1/250

By seeing everyone practice, I and my assistant Laura Deas Espeut, who also shoots weddings, could see what the sight-lines were for taking photos. We knew we had to be at certain places in the church even to get a picture.

At this rehearsal, we also noticed that the placement of the unity candle and where they planned to wash each other’s feet was not just bad for photos but for everyone to see. So, by being there, we were able not just to help them have better pictures but a better experience for those attending the wedding to see the symbolic moments they had chosen to do.

Why Scouting Helps

  • You get to see the location and take test shots
  • You find the best sight-lines to take photos
  • If there like a wedding rehearsal, you can plan for the timing so you are in the best location at the right time.
  • You get to speak at the event. If you see a problem that could impact the photos as we did, you can call attention to this with the event planners. Here they made changes, which improved the images.
  • You can plan to bring the right gear to get the best possible photos
I cannot stress enough how much preparation for anything you do will always impact your end product. 
 
We have all heard how 20/20 hindsight is always better than in the moment. While last-second things can change, you can come close to 20/20 with enough foresight. Unfortunately, just showing up and going with the flow means constantly reacting rather than anticipating.
 

The best photos you can take are the ones you anticipated–not those you reacted.

Pocketwizard AC9 a Game Changer with Alienbees High Speed Sync 1/8000

by Stanley LearyNikon D4 / Nikon D750
Nikon D4, Nikon 85mm ƒ/1.8G, ISO 125, ƒ/1.8, 1/1250

Today, for the first time, I was shooting with my Alienbees outside with shutter speeds above 1/400. That is all I could sync before using my Pocketwizards and plugging into the Alienbees with a 1/8 plug.

I bought the Pocketwizard AC9 to combine with my Pocketwizard TT5 and then used the phone cord to plug into the back of the Alienbees B1600.

With this combination, I could shoot up to 1/4000 on my Nikon D750 and up to 1/8000 on my Nikon D4.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 1000, ƒ/1.8, 1/4000

As you can see, here is the D750 with Flash @ 1/4000.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 1000, ƒ/1.8, 1/4000

This photo is with no flash outside. So you can see how much the flash helps.

 

Now with the AC3 on top of the Pocketwizard Mini TT1, you can control the power of the Alienbees.

Here is the chart of how that would work:

  • +3 = Full Power
  • +2 = 1/2 Power
  • +1 = 1/4 Power
  • 0 = 1/8 Power
  • -1 = 1/16 Power
  • -2 = 1/32 Power
  • -3 = 1/32 Power
You also have the 1/3 increments to use in between. 
 
 
So here is the basic setup I was using. Here is the list of gear:
  • 2 – Alienbee B1600s
  • 2 – Vagabond Mini
  • 2 – Cowboystudio 7’ 4 Section Portable Adjustable Stand
  • 2 – Westcott 2001 43” Optical White Satin Collapsible Umbrella
  • 2 – Pocketwizard AC9
  • 2 – Pocketwizard TT5
  • 1 – Pocketwizard Mini TT1
  • 1 – Pocketwizard AC3
  • Nikon D4
  • Nikon 85mm ƒ/1.8
 
I pack the lighting gear all into this Seahorse SE-920 with padded dividers. This technique is a super basic kit that I can fly with to jobs where I need something a little more powerful and now capable of still shooting at ƒ/1.8 to get that great BOKEH.
 
 

How to create an online presence for your photo business

by Stanley LearyNikon D750 / Websites

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 5000, ƒ/2.8, 1/250

I stopped by my online internet presence provider today while in New York City. My website is hosted through them. I also provide my images to my clients online through them. My clients can not only download pictures. They can order prints and more as I add those features to an online gallery.

I also am selling stock images of my own online and helping my mentor, who passed away, sell his pictures through my website. This is my way of helping out his spouse, who still is active.

Join Me On PhotoShelter


Now, if you click on this link, you will get a $15 discount, and I will get a small amount that helps support this blog.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1250, ƒ/2.8, 1/250

Here I am with Kevin Davis, Director of Business Development, for PhotoShelter. I have referred many clients to use PhotoShelter’s Libris products to organize their in-house photo collections.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/160

Many on their staff are also shooters, so they understand us photographers. This morning I was helping with a client’s Libris account and called and talked to Jon. He is in the hat closest to the wall.

Jon solved my problem in just a couple of minutes. I had not set up some files correctly, and he told me how to correct it and even offered to do this. WOW!!! I am a raving fan of PhotoShelter.

Here is an earlier post I did back in 2012 on using PhotoShelter for business.

I wrote another blog talking about how their website hosting works. Here is the link to the blog post Is your photography website scalable from Desktop to Mobile?

PhotoShelter has less than 50 employees. It has a minimal company feel, which means I feel like they know me.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/80

Joining PhotoShelter gives you other perks, like discounts to these companies:

I swear by and use ThinkTank products, PhotoMechanic and Cradoc fotoSoftware.

For anyone starting out in photography, I recommend you use PhotoShelter for all your online photography needs. That includes your website, online galleries, and stock sales. I also would recommend buying Cradoc’s fotoBiz software for similar reasons.

Both PhotoShelter and fotoBiz help you run your business. They have made this super simple for the novice.

I also recommend you get your clients with photo collections to sign up for PhotoShelter’s Libris to help them manage and share those assets through a secure online system.

If you started using PhotoShelter and fotoBiz, you would have jumped about ten years past all my mistakes. Do you want to get an advantage over other pros? Then join PhotoShelter.

Unexpected moments

by Stanley LearyNikon D4 / Nikon D750
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.6, 1/250

Sometimes you walk out the door, and you see this. Of course, everyone will grab a camera as these did at a recent The Carter Center in Atlanta event.

Everyone here is going for their smartphone camera.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 5000, ƒ/5.6, 1/250

I could zoom in with the AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR and get a much better shot than my phone’s camera.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/8, 1/50

I had my camera at the RQN Subway in New York at 34 Street – Herald Sq Station. I loved the music, which made me stop and enjoy a minute.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 400, ƒ/8, 1/20, Nikon SB-900 -1EV

I also had a tremendous treat today. I visited with Brad Smith, the director of photography for Sports Illustrated. I dropped off some Chick-fil-A sandwiches from the Grand Opening this weekend in NYC. I also brought him a few of the Chick-fil-A Cows.

Since I had my cameras and the Nikon SB-900, I got a nice photo for Brad to keep and for me to have as well.

All this is to remind you some of the best photos are the unexpected moment. Will you be ready?