Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/4.5, 1/200
Sunrises and sunsets are two of my favorite times of the day. They represent new beginnings and endings to me.
This week, I attended a corporate meeting. One thing that struck me was that the attendees acknowledged that one of the greatest threats to the success of their business was their success.
When you become successful, you can become very complacent. You take for granted your actions.
If your customers love your work, that is great, but don’t settle for what you do. Instead, learn to continue to push yourself and grow.
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 8000, ƒ/4.5, 1/100
“The Only Thing That Is Constant Is Change,” said Heraclitus. Change is happening all around us all the time. You cannot stay the same and remain relevant today.
Trying to stay the same because your success today was because of your actions yesterday will not lead you to success tomorrow.
If you want to go somewhere in the future, you need to assess where you are and think and plan accordingly to make changes. But, unfortunately, when you do, you will most likely go backward at first.
Going backward first is called the J Curve. The J Curve breaks down our behavior patterns as we change tasks, habits, or routines. There are five stages to manage internally in your head as you cascade through the stages.
Plateau
Cliff
Valley
Ascent
Mountain Top
It looks like this:
I only mention all this to make you aware that taking action to ensure you move forward often will feel like you are making it worse.
Take the time and do some research. Then, plan your choices based on where you want to go.
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 7200, ƒ/5.6, 1/500
Last night I took in the beautiful Luau put on by Island Breeze at the Courtyard Marriott King Kamehameha’s Kona Beach Hotel. If you come to the Big Island, this is a must-see!!!
I am also working on putting together a photography workshop here and will do my best to make this part of the package. I know many of the Island Breeze folks. They have been my Hawaiian fire dancers. Nikon D750 Performance
I just wanted to enjoy the Lua and not work, but I still wanted a photo or two from the night. So I just took the Nikon D750 and the AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR with an extra battery–that I never needed.
This camera and lens are an excellent combination—extremely sharp images due to the D750 sensor and the lens’s Vibration Reduction.
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 800, ƒ/5.6, 1/100
After taking this photo of the dancers, I changed the Auto ISO shutter speed to 1/500. But I was surprised at the sharpness at 1/100.
Here are some more images from the night that you might enjoy:
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.
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.
The other day, I compared the Fujifilm X-E2 with the FUJINON XF 18-55mm lens, shooting the same test chart as the Nikon D750 with the Nikkor 85mm ƒ/1.8G.
Some thought that this wasn’t such a good test. However, I was comparing mirrorless to DSLR and the sensors as well.
The second complaint was I shot at too high of aperture, introducing diffraction. So this is shot at ƒ/5.6 rather than ƒ/16.
Nikon D750
Nikon D750, Nikkor 85mm ƒ/1.8, ISO 200, ƒ/5.6, 1/200 under studio strobes.
1:1 of the above photo
Fujifilm X-E2
Fujifilm X-E2, Nikkor 85mm ƒ/1.8, ISO 200, ƒ/5.6, 1/180 under studio strobes.
1:1 of the above photo
Conclusion
IMHO the antialiasing filter on the sensor of the Nikon D750 affects the performance, and the Fujifilm X-E2 is sharper. By the way, the crop difference is due to the sensor size difference.
When running the images full-frame, I think the extra megapixels of the 24 MP Nikon may give it a hair advantage.
I predict there is a good chance in the future, with the higher MP chips, that the need for the antialiasing filter is not as needed for my work most of the time. So I think more people will want their chips without that filter.
Just for fun, this last photo
This photo is the Fuji cropped more excellent than 1:1 but gave you the same part of the chart that the D750 was at 1:1
Fujifilm X-E2, FUJINON XF 18-55mm, ISO 200, ƒ/16, 1/180
I posted a blog earlier today showing my observations with my moon shots comparing the Nikon D750 to the Fujifilm X-E2. I received many comments that this was not a good test. Well, it wasn’t a test.
Here is a test of the difference between the Nikon D750 and the Fujifilm X-E2 shooting a test image under studio strobes at the same ISO, aperture, and highly close shutter speeds.
Fujifilm X-E2, FUJINON XF 18-55mm, ISO 200, ƒ/16, 1/180
You can see the overall image of the test image, and then I came in closer on both cameras. Mind that the 24 megapixel is a larger file and has more information than the 16 megapixels of the other camera.
Fujifilm X-E2, FUJINON XF 18-55mm, ISO 200, ƒ/16, 1/180
I will let you come to your conclusions about the two cameras. The Fujifilm X-E2 shot 83mm, and the Nikon D750 at 85mm. Again some minor differences.
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/16, 1/200
I will let the photos speak for themselves in this blog post.
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/16, 1/200
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 200, ƒ/16, 1/200
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/9, 1/200
I was not planning on comparing the two cameras but ended up noticing quite a difference between the two cameras when taking some photos of the moon.
Fujifilm X-E2, FUJINON XF 55-200mm, ISO 800, ƒ/8, 1/4000
While editing the two photos, I noticed a sharpness in the 16-megapixel Fuji image that wasn’t in the Nikon 24-megapixel. Of course, I would expect the Nikon D750 to be sharper.
Nikon D750, ISO 4000, ƒ/5.6, 1/4000
I just put this photo here shot at 1/4000 to quiet those who think the softness of the D750 was from camera movement. It is the filter.
Until recently, virtually all digital cameras had anti-aliasing or low-pass filter over the sensor. This filter softened the image very slightly to reduce the likelihood of moiré patterning happening in parts of the photo close to the sensor’s resolution limit.
There is no filter on the Fuji, and there is one on the Nikon D750.
The benefit of leaving off the filter is that the camera can record a little more detail and produce slightly sharper images, with less need for post-capture sharpening.
Nikon just introduced at the Consumer Electronics Show this week their new Nikon D5500, whose high-resolution sensor has no optical low-pass filter. It joins the Nikon D810, which doesn’t have an anti-aliasing or low-pass filter over the sensor.
I think we may be experiencing a change in the industry. Since the Nikon D800E, we have seen more cameras without anti-aliasing, or low-pass, filter over the sensor. Removing the filter is because the pixel density of sensors has become so high that there are fewer and fewer patterns that we are likely to photograph with a high enough frequency to cause moiré patterning.
Choosing the right lens for doing a portrait can significantly impact your subject and how they look. Above, I shot these photos, filling the frame so that the head size was pretty close to the same size in the frame.
I shot all these photos on the Nikon D750 using three lenses: 1) AF-S NIKKOR 14-24mm f/2.8G ED; 2) AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR; & Nikon 85mm ƒ/1.8G.I believe the wide angle and the extreme telephoto lens affect how a person’s face appears.
The wide angle makes a person’s nose bigger because it is closer to the camera, and the ears are much wider. The distance between the nose and ears compresses as you go to a longer focal length.
My favorite lens for portraits with the full frame DSLR is the Nikon 85mm ƒ/1.8G.
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 250, ƒ/1.8, 1/100
My EasyCover for my Nikon D750 came in yesterday. I wrote about buying these earlier for the Nikon D4 camera. [Read More] Most of the pros I know would wish they would make a model that covers the camera name and model.
While many amateurs may want to show off their gear, most pros try to do the opposite.
The primary reason I recommend this to you is the same reason I would recommend you have an Otterbox for your cell phone. The Otterbox promotes itself as surrounding your phone with a cushion of air and inspired by the crumple zone of a car; this case can take a hit and keep your precious phone as good as the day you got it.
The EasyCover comes with 2 x Screen Protectors. I didn’t put these on right away and most likely will.
As you can see from the photos, you still have access to everything, including the ability to move the screen. In addition, the Custom-Fit Silicone Material provides an excellent cushion from minor bumps.
You can still get to the memory cards.
You can also use your microphone, headphone, HDMI, and USB access.
You can still get to the battery very quickly.
An Otterbox and the EasyCover cannot completely cover everything.
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.
I decided to save some money when buying a battery grip for the Nikon D750 and bought an off-brand.
On eBay, I found a High-Quality Multi-Power Battery Grip Holder Pack For a Nikon D750 Vertical Camera for $78 and $10 for shipping from overseas. Here is the LINK
It comes with two types of battery holders. It works with six AA batteries or EN-EL15.
The grip fits perfectly onto the Nikon D750, and everything works great.
There is a second set of buttons and dials on the back.
The sub-menu dial is on the front, like the camera and shutter release. It’s lightweight, and I like it because I prefer the vertical grip when shooting verticals, which adds more balance to the lenses.
Everything works excellently; that is all the pros I can think of now.
Cons–After turning off the camera and the grip, the battery will drain in the hold.
The Nikon MB-16 is still available for pre-order. Here is the link. The price is $369. So, if you are bothered by the battery draining, save money and buy the Nikon MB-16.
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:
