In this past blog post, “Venetian Blind Type Of Lines With Z9 And High-Speed Sync Flash,” I talked about how I got lines when using High-Speed Sync. I discovered this after shooting on a job.

First, I returned to the client and reshot all those affected and even more people. So you make it suitable for the client.

What Is High-Speed Sync?

The maximum shutter speed used with high-speed sync (HSS) flash varies depending on the camera and flash unit used. Most cameras and flash units can generally support HSS up to their maximum sync speed, typically around 1/250th of a second. However, some newer cameras and flash units are capable of HSS at even higher shutter speeds, up to 1/8000th of a second or higher.

It is important to note that the maximum shutter speed that can be used with HSS is not the same as the maximum flash sync speed, which is the fastest shutter speed at which the flash can properly synchronize with the opening and closing of the shutter. Flash sync speed is typically lower than the maximum shutter speed used with HSS.

To use HSS, you must set your camera to a high shutter speed and your flash to HSS mode. Consult your camera and flash unit’s documentation for specific instructions on how to do this.

My Controlled Test

When shooting outside, I try and have my subject backlit or at least in the shade so they are not squinting in the photo. Then I add a flash at 45º off the axis of the camera and then 45º above their eyes to help create some modeling using the shadows from the eyes, cheekbones, and nose.

Under each photo are the settings for each image. I only changed the ISO and let the camera pick the shutter speed. I started with ISO 25600 and went down by one stop.

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The lines disappeared when I went back and went by the third stop between ISO 12800 and ISO 6400. So it appears that ISO 8000 for this particular scenario is where I got the best results. This changed my shutter speed at ISO 12800, which was 1/6400, to 1/5000 at ISO 8000.

There was a slight variation at the same ISO of 12800 with a shutter speed of 1/8000.

I am guessing that since most descriptions I have seen about HSS, the flash is pulsing and that at a shutter speed of faster than 1/5000 with the Flashpoint XPlor 600 HSS TTL lines show up.

Test With Godox V860IIN

Now when I ran the same test and only switched out to the Godox V860IIN inside the softbox, I got different results. For example, see below in this gallery.

I believe a difference is attributed not to the Nikon Z9 camera but to the flash unit. I think the pulsing flash isn’t that consistent with the XPLOR 600.

I did try it a few times, and I did get the lines to show up with the Godox V860IIN. I think this is due to shooting fast and the unit not being fully charged, but not sure. I know it is less of a problem with this flash than the XPLOR 600 TTL.

Slow Sync TTL flash is a technique that allows you to achieve a balanced exposure between the ambient light and the light from the flash. It is beneficial when you shoot in low light conditions and want to capture the background and subject in focus.

To use Slow Sync TTL flash, you must set your camera to “Slow Sync” or “Rear Curtain Sync” mode, depending on your camera model. You will also need to set the flash to “TTL” (through-the-lens) mode, which allows the flash to communicate with the camera and adjust the flash output based on the light-metering information gathered by the camera.

Here are the steps to use Slow Sync TTL flash:

1. Set your camera to “Manual” mode and select a slow shutter speed (1/30 sec or slower). This will allow ambient light to be captured in the image. Remember the Exposure Triangle. You can change the ISO to control exposure. The benefit of using a higher ISO is that your flash becomes more powerful.
2. Set the flash to “TTL” mode and mount it on your camera’s hot shoe or, even better, off-camera using a radio remote designed to work with your flash and camera.
3. Point the flash at your subject and take a test shot.
4. Review the image and adjust the flash output as needed. You can use the flash compensation setting on your camera or flash to increase or decrease the flash output.
5. Take the final shot.

Remember that the Slow Sync TTL flash can produce some ghosting or blur in the image if the subject or camera moves during the exposure. To minimize this effect, use a tripod or a stable surface to support the camera and keep the subject and camera as still as possible. You can also raise the ISO so that your shutter speed can increase.

Flash can be a valuable tool for illuminating a scene or subject in low light conditions or adding fill light to a photograph in harsh lighting conditions. However, when using flash, it’s essential to consider how the flash will fit into the overall exposure of the picture.

Flash is typically treated as a separate light source when considering the exposure triangle. This means that you will need to adjust the aperture, shutter speed, and ISO to expose the photograph based on the available light properly and then use the flash to add additional light as needed.

One way to think about this is to use the available light to expose the background and then use the flash to light the subject. In this case, you would set the aperture, shutter speed, and ISO to expose the background properly and then use the flash to add light to the subject. The flash can be adjusted in terms of power and placement to achieve the desired lighting effect.

It’s important to note that flash can be a very powerful light source, and it can be easy to overexpose the photograph if you are not careful. It can be helpful to use the camera’s histogram or a handheld light meter to get an idea of the overall exposure of the photograph and make any necessary adjustments.

I went to https://openai.com/blog/chatgpt/, registered, and then typed in “Write a blog on How Photographers should correspond with new clients,” which is what it wrote in about 15 seconds. I then used Grammarly to check it for style. This is what I got below:

As a photographer, it’s essential to establish clear communication with your clients from the very beginning. This helps build trust, set expectations, and ensure everyone is on the same page throughout the process. Here are a few tips for corresponding with new clients:

1. Be prompt: It’s essential to respond to inquiries and emails promptly. This shows that you are professional and reliable and helps set the tone for your relationship with the client.
2. Be clear and concise: When communicating with clients, it’s essential to be clear and to the point. Avoid using industry jargon or technical terms that your client may not understand.
3. Establish boundaries: It’s essential to establish boundaries with your clients from the beginning. This may include setting clear guidelines for communication (e.g., preferred method of contact, response time) and setting expectations for the shoot itself (e.g., arrival times, number of shots).
4. Communicate any changes: If there are any changes to the shoot (e.g., location, time), it’s essential to communicate these to the client as soon as possible. This helps avoid confusion and ensures everyone is on the same page.
5. Follow-up: After the shoot, it’s a good idea to follow up with your client to see if they have any questions or concerns. This helps to build trust and show that you are dedicated to providing the best possible service.

Overall, clear and effective communication is key to building a successful relationship with your clients. Following these tips establishes trust and sets the stage for a smooth and successful photoshoot.

So what do you think?

[NIKON Z 9, NIKKOR Z 24-120mm f/4 S, Mode = Aperture Priority, ISO 25600, 1/6, ƒ/4, (35mm = 52)]

This year Dorie Griggs, my wife, suggested we go and see the Walk-Through Live Nativity Scene at Northminster Presbyterian Church. She was an intern pastor twenty-four years ago. Here are some photos from tonight.

I was surprised that since this is at night and with little light, I was shooting most all the photos at ISO 25600.

I processed them with Lightroom and then used Topaz AI to process them further.

While I do not want to shoot at ISO 25600, I found all these acceptable for social media posts. Not sure I would wish to have large prints of them.

Image Stabilization

Z9 also has a Sensor-based 5-axis Image Stabilization system which means that all of these lenses will be stabilized when used on Z9. Nikon claims that the image stabilization of Z9 is effective up to 6.0 stops. Sensor-based image stabilization is one of the most valuable features that you can have.

I was very impressed with the Nikkor 100-400mm. The IBIS gave me sharp images being handheld.

I was shooting this as much to test my gear as to appreciate the event. I can’t wait to do more Christmas photos this season with the Nikon Z9, 14-30mm, 24-120mm, and the 100-400mm. I have been shooting for the past year with all my older F-mount lenses. I am just now getting used to the incredibly sharp Z-mount lenses.

One of my photographer friends Stan Kaady, commented while showing someone some photos of his on his phone that was a “U-Turn Photo.” That is where you see something, make a U-Turn, and go back to take a photo.

While stopping and doing U-Turns myself, I had never just referred to those photos as U-Turn Photos. I loved hearing the term used this way.

Stan Kaady might only refer to making a U-Turn in your car to get a photo; I often stop and go back to get a second look.

My mentor, Don Rutledge, would often look at other photographers’ contact sheets and coach these photographers. One thing he was always doing was asking why you only take one photo of something and then move on.

Don would then give a lesson on the art of seeing. He believed that our subconscious sees something that catches our attention. He believes that we should take the time to explore when this happens.

It is no different from making a U-Turn. You know something caught your eye. Now is the time to explore the scene. Sometimes, you may walk around and look for different angles or change lenses. Sometimes, you find everything almost perfect, but you must compose and wait. This is what many photographers do to help out with a photo. They are waiting for something like a person, a car, or even just an animal to come into the frame, and when they are in the right place in the composition, they click the shutter.

Some of the best photos are those U-Turn photos. You follow your gut and emotional reaction and then explore with the camera to find what turned your eyes. Sometimes, you get lucky when you do, and a eureka moment happens. But, sometimes, after exploring, it just never develops.

What is essential that Don taught me was not just to have one shot on the camera but to explore until you have exhausted the scene. How about you? Do you take U-Turn Photos?

When you are looking through the viewfinder of a DSLR, you see through the lens with the help of a mirror and prism that flips the image to look correct.

How bright or dark it looks through the viewfinder depends on how fast an aperture you have with that lens. For example, if you have a 50mm ƒ/4 versus a 50mm ƒ/1.2, the ƒ/4 will look much darker than the ƒ/1.2.

Now when you are looking through the viewfinder of a mirrorless camera, you are looking through the Electronic View Finder. It is a small TV screen. In low-light situations, the viewfinder is brighter than the scene in person. This is the most significant benefit of the Nikon Z9 over my previous Nikon D5.

In the past, having a ƒ/2.8 lens made a visible difference in seeing through the camera compared to a slower ƒ/5.6 lens. However, with the EVF, you don’t see a difference as much anymore.

I have set the Z9 to a 120 Hz refresh rate in the EVF. This affects the apparent smoothness of the Z9’s viewfinder as you move around the camera, and 120 Hz does perform a bit better in this regard than 60 Hz. The lag and flickering on the Z9 are also highly minimal, making for a headache-free experience (at least for me, and I’m pretty prone to headaches from bad displays).

For me, the ISO quality of today’s latest sensors, like the one in the Z9, helps you shoot at ISO’s that you wouldn’t attempt in the past. So while there are still benefits to having a ƒ/2.8 over a ƒ/4 lens, the question is, can I get the job done with the ƒ/4?

When covering corporate events where the stages are often lighted for video, I have no problem shooting at ƒ/5.6. For example, I photographed Garth Brooks for an event in Nashville, and the settings on the camera were 1/200, ƒ/5.6 ISO 8000. The quality of the images was very acceptable.

Due to this, I now have what I am calling my Trinity set of lenses for event work. I have the 14-30mm ƒ/4, 24-120mm ƒ/4, and the 100-400mm ƒ/4.5-5.6 to use for my event work. Easy to carry and let me shoot whatever happens without the fear of not getting the photo.

The best thing about all these lenses is that they are sharper than my previous F-mount lenses. With the EVF’s Nikon Z9 120 Hz refresh rate, I am seeing better than I ever saw while shooting on my Nikon D5.

I enjoyed watching the documentary with Ryan Reynolds and Rob McElhenney on Welcome to Wrexham soccer club in Wales.

Ryan Reynolds talks about how the story is what captivates him. It isn’t just the story of the soccer team, but the town.

It is awesome to be part of the sports community. You see this when you play sports as a young kid, and you are playing with your friends, and your parents and friends show up to watch you play. Everyone who is there is part of the story.

Here are some of my favorite sports photos through the years

I noticed when I went to college that the level of play went up, and I was still part of the story in the stands. I was in class with some of these athletes and knew them off the field/court.

The docuseries teaches me that the collective story of everyone watching is powerful.

The draw of sports is more than just the game. One of the fans of Wrexham said this is the only time that 4,000+ in their community get together in one place and do something together.

The exciting thing about sports is that it is either a comedy or a tragedy for your team at the end of the game. The good news is that there is always another game and a time for redemption if that is necessary.

The other great thing about sports is that you are part of the community’s story. You get to live this out with others. How exciting.

Once you have a camera and lens, the best addition you can make to this kit is a flash.

There are so many times that a flash would improve an image that you might not take that photo without a flash.

Here is a classic example of where there is more light behind the subject than on the subject.

I find myself in well-lighted rooms where I am on the opposite side, where the light is on the subjects’ faces, and with a small flash, I can at least get a photo that otherwise would not be possible.

Many might think you can change the exposure for the people’s faces, but then in some of these situations, the background would disappear.

If you buy a flash with TTL that matches your camera brand, you can do many exposure variations to get those moments.

I assume you understand the exposure triangle; if you do not, here is a blog explaining it.

There are two separate exposures you are controlling when using a flash. When you set the camera and use TTL flash, the default settings for most cameras will dial the ISO down to the lowest setting automatically if you are using Auto ISO. This will often cause the background to disappear.

Since the camera needs more light at a lower ISO, the camera is talking to the flash with the TTL technology and telling the flash to put out much light.

Here is a simple tip to help you still get the background and balance it for the subject. Take a picture without the flash on using Auto ISO and a shutter speed that will not blur the issue. Usually, 1/60 or 1/125 works. Then, pick an aperture that keeps what you need focused. Remember, if you are shooting with an extensive depth-of-field like ƒ/16, you need a powerful flash. So be realistic about that aperture. I usually shoot no more than ƒ/8 and most of the time around ƒ/4.

Once you take the photo, then make a note of the ISO setting. Then be sure you have your ISO minimum setting with AUTO ISO no more than one stop less than the photo you took without flash. Of course, you can always set the ISO manually and not use the AUTO ISO.

Now, remember that the flash can also be controlled while in TTL. There is either a menu on your camera to control the flash by sliding a setting from – 0 +. Having it at 0 on the EV scale and the camera set to an ISO of 1/3 to ½ under the proper setting gives excellent results.

Now there is much more you can do with that flash than what I mentioned here in this blog. Just type in the search window on this blog, “off-camera flash,” for many posts to help you do even more with this flash.

Photos that engage me the most at the ones that communicate emotionally, spiritually, or psychologically.

It is easier for a photo to do this with the photographer getting close enough to connect with people. This is especially necessary for photos whose purpose is to communicate a particular message to an audience.

Photojournalism is highly objective, and while some images can be stunning, there is little scope for direction or altering lighting conditions.

Documentary photography is very close to photojournalism, about recording an event or telling a viewer about something through a series of pictures. However, documentary photography needn’t be as objective as photojournalism, and the documentary photographer has more freedom to direct subjects, change the scene, modify the light, etc.

Editorial photography is about shooting for newspapers or magazines, but it is not photojournalism. Typically an editorial photographer will be producing portraits or documenting a workplace or an event of some kind for a feature in a magazine. The photographer does not need to be objective like a photojournalist but needs to meet the brief, often producing polished images that border on being commercial.

While I started in this profession as a photojournalist, I often worked as an editorial photographer. After working for a newspaper, I went to work for The Commission Magazine and the Foreign Mission Board. We were all photojournalists by training who were doing editorial work.

We were sent stories with a call to action, which is not part of photojournalism. We constantly asked the audience to take action and support the organization’s work.

Why do organizations continue to call me to help communicate their message? First, my portfolio shows that I can capture the emotional, spiritual, or psychological storyline for the audience.

So how do I consistently do this for my clients?

Before I go around the world for a client to do a story, I spend a reasonable amount of time asking questions to the client. These questions are what I need to know to be on purpose when I am working on the story.

1. What is the story or assignment? This is where I hear them tell me what they believe the story is about.
2. What is the call to action for this story?
3. Who is the audience, and how will they see or hear the story? For example, is this a printed piece, in a blog, will it be a video online, or will it be shown at a meeting?
4. Logistics questions come next.
   • Who is my contact on the field?
   • How long do I have with the subject to do the story? I am often negotiating this part.
   • When is the deadline for the photos, text, and video?
   • If a video which will be reviewing this and making editing decisions?

Most of the time, I try to connect with the subjects before I leave for my coverage. First, I will do a preliminary interview, which verifies what I have been told the story is about. This process involves getting to know the subject and building a relationship.

Once I am on location with the subject, I sit down and converse with them. I learn about them in general and not just about the story—things we may have in common to build upon. I get them talking as much as possible and only inject something about me and my connections into their lives to help develop a bond.

Once I have their story, I summarize the storyline to them and ask them if I have it correct. They may alter a point or two at this point. Once we agree on that storyline, I get to work.

At this point, I will transition to capturing the story with photos and video. I let them know what I need to do to get the content. Often if the story has to do about their work, then I ask them to follow them and often will see if we can be sure I get a list of things they do that relates to the storyline. This is the editorial photographer role. I am just asking them to do what they usually do, but we schedule when I am with them.

I give a little direction when we start and then let everything happen naturally. Then, since I am shooting to the brief of the organization that sent me there, I may ask them to repeat something so that I can get the photo from a different angle, or maybe I need to set up lights to reveal their faces or what they are doing.

Throughout my time with them, I will occasionally direct, but this is usually more like a movie director who asks for the actors to repeat a scene. I may have to move something out of the location that can be distracting. This would be a no-no for the photojournalist but OK for the editorial photographer. This is because the organization I am telling the story for isn’t a journalistic outlet. They are telling their story.

Depending on the lens, the audience will get a different vibe. A wide-angle lens requires me to get closer to the subject to fill the frame. Since I am more immediate, the audience will feel more intimate. I usually am less than three feet from the subject when shooting with a 14mm, 20mm, or 24mm lens.

While a portrait lens, like an 85mm lens, helps me compose a pretty tight headshot at a comfortable distance from them and keeps the proportions of the face looking good, I am usually about four feet from the subject.

Sometimes, I must back up and use a wide-angle lens to establish the subject in a location. The purpose of that photo is to show the context more than to see the expression on their face. Being further back to where you can see the person, but maybe the rest of the room will mean, at first glance, the audience is seeing the room. They may study the photo more and see a good expression, which is secondary to establishing context.

With video, I often need a sequence to help tell the story. So I may require the person to get into their car, drive to work, get out of the car, open the door to work, and so on. When necessary, I maybe use all my lenses and add lights inside the vehicle to show them without them being silhouetted.

As you can see, I need much cooperation from the subject to tell their story. You do not do this by just showing up and taking pictures or videos. You need first to get to know them. Throughout the entire process, I am still getting to know them.

To help make this easy to remember, start by talking your way in with the subject and then shooting your mode out of the story.

It is much easier to pull out a camera with a wide-angle lens and take some photos of a person you are having coffee with over a table than to start taking pictures and walking closer and closer with your camera.

I know from my degree in Social Work that the process of doing an intake interview and understanding their real needs is very similar to the storyline process.

Often after I have finished a story, it feels the same as a therapy session. The subject feels like someone has helped to tell their story more efficiently than they could and, in the process, feel like they understand how to tell people their story in the future much better.

How do you make better photos? First, get to know your subjects!

What Does it Mean to Capture the Moment? When we talk of capturing the moment in photography, we reference the feeling, emotion, vibe, atmosphere, or photo. And that comes from more than just the subjects or the scenery; it comes from the photographer, too.

It’s essential to capture these moments because they’re fleeting and forgettable—it may take a year or more to forget them. Still, without a timeless visual reminder, you can lose the feeling and never dig it up again. A photo can bring back the emotions, memories, and scents attached to the image.

It’s Called Anticipation

In photography, looking into the future involves imagining with high probability how the scene will play out in a time that’s later than “right now.”

When most people take their first photographs, they react to moments. Isn’t that so cute? Then they reach for the camera. They may love the photo because it is a memory jogger for them, but other people do not look at that photo and get the same feeling. The reason is that what made the moment “cute” is gone.

Anticipation is a skill that all great photographers use when searching for the right moment to press the shutter release.

Even if you are not a sports fan, you can understand why I use sports as a metaphor for how to anticipate a moment.

We know in baseball when the pitcher will throw a pitch and even when the batter will most likely swing. You can get in position with the right camera and lens and have the photo well composed. What decides when you push the shutter button is showing the pitcher in their windup or release of the baseball to home plate. If your camera is focused on the batter, you know that you must push that shutter release the moment you see the batter start to swing to capture the ball’s crack on the bat.

You can follow the action in sports because it is usually where the ball is in the game. I recommend new photographers shoot sports to get your sense of the moment by squeezing the shutter release so that you are getting those “moments.”

No matter where you are, there is an invisible ball at play. When people are conversing with another person, it is the same as a pitcher and a batter. One person comments, like a pitch, and the other person swings, like the batter.

People Watching

People-watching or crowd-watching is observing people and their interactions. It involves picking up on idiosyncrasies to interpret or guess another person’s story, exchanges, and relationships with the little details they have. This includes speech in action, relationship interactions, body language, expressions, clothing, and activities.

Studying body language can be very helpful in broadening the way you shoot and being more effective in your photographic storytelling, establishing mood, and heightening your awareness of how your clients and audience likely perceive the moments you capture (even subconsciously). You can use this knowledge to direct your subjects, aid in your observations, and know when a moment is right to illustrate your story or vision.

Many psychologists believe that non-verbal communication reveals as much or more than talking. People’s physical appearance, how they dress, and how they move and position themselves speak volumes. Much of what happens with body language is unconscious. People can monitor and control it to a certain degree. Still, often, their physical movement conveys their feelings when they aren’t verbalizing them, even when they don’t want to or can’t verbalize them because those feelings are unconscious. For example, research suggests that people, without even realizing it, lean slightly forward when thinking about the future and slightly backward when thinking about the past. This is because the body doesn’t know how to lie.

Two Tips

My two tips for capturing the moment are first aesthetic and second technical. But, of course, you must first have a sense of curiosity about the world in which you live. So, let’s start with something that gets you excited.

Many people taking photos will concentrate on nature, while others may focus on sports. So, pick a topic that gets your heart racing.

Someone who loves wildlife and nature will know when the best time to take photos is. For example, if you love wildlife, your curiosity will have you researching the best times and places to capture an image. Bird photographers know where to find those birds, and many even know how to attract a bird to get those photos. For example, they may put food out and wait for the birds to start coming to the food. They will have even anticipated which branch they will perch on before eating to get that photo.

So whatever your subject, become an expert in that subject. If it is your family, you may already know enough to start shooting.

The technical part of getting those moments is mastering squeezing the shutter release to get the “moment.” Part of that is knowing how to set the camera to get good exposure and position yourself to have the light work for you.

As you can see, capturing the “moment” is more than just seeing something and clicking. I hope you now know that those who capture “moments” consistently see the subject and anticipate those “moments.”

As a voter, you will help decide who will lead us. You make your voice heard on important issues that affect the future of our state and nation. Every time you use your precious right to vote, our democracy grows stronger. Participating in elections is easy when you have the tools and information.

Yesterday on election day here in Georgia, voters were deciding who would represent them in the Senate. This was a runoff election between Raphael Warnock and Herschel Walker.

A canvassing group hired me to capture their people going door to door in Atlanta to find out what motivated people for this election. Canvassing is used by political parties and issue groups to identify supporters, persuade the undecided, and add voters to the voter’s list through voter registration, and it is central to get-out-the-vote operations. It is the core element of what political campaigns call the ground game or field.

I was listening to some of their responses and topics like the economy, healthcare, and women’s rights, and picking someone they wanted to represent them that they could trust would vote in their best interest was the top reason I was hearing from the voters.

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These are just some of the photos from the day, and I hope you enjoy seeing how democracy in action looks in Atlanta on election day.