My local Mexican Restaurant

[NIKON Z 6, 24.0-105.0 mm f/4.0, Mode = Aperture Priority, ISO 51200, 1/250, ƒ/8, (35mm = 24)]

My car loves to go to certain restaurants and El Porton is just around the corner from our home. I love good Mexican food and the staff at their know my order.

During this trying time of the COVID-19 Virus and restaurants having to close their dining rooms, I wanted to help them to continue to pay their employees.

Here I am coaching Yadira Escobar for the video. photo by Dorie Griggs

During normal times we love to go out and eat to take a break from cooking. Now after self isolating for days many of us are wanting different food. Many restaurants are trying to stay open by offering carry-out and curb-side pickup.

Here some simple things to support your local businesses

  • Buy gift certificates – This is like buying stock in a company. They get to use the money now to pay their employees and you get to use the gift certificate in the future.
  • Buy merchandise – Buy T-Shirts and hats
  • Promote them – Give your favorite local businesses shout-outs on your social media channels
  • Volunteer your services – Maybe help pickup and deliver food to elderly
  • Use Credit or Debit Cards – When you do go shopping, use a credit or debit card instead of cash. Paper money and coins pass through so many hands and carry all types of germs. Limiting the amount of cash you use can help limit the spread of those germs, which is especially important right now.
  • Stay Home if You’re Sick – Don’t put others at risk if you’re sick.
  • Contribute to or start a GoFundMe campaign – Consider donating to an online fundraiser or starting one on behalf of a business whose sales have been wiped out.
  • Leave a Review – A great way to support small business owners is to provide review on Social Media

Do What You Do Best, Then Hire Someone To Do The Rest. Here’s How

Photo by Dorie Griggs

What gifts do you have that others would benefit from right now? I am not a cook. I am not a medical provider. I am a storyteller.

I know that most people could use help telling their stories. I also know that seeing is believing.

I am setting my camera on a slider for the video shoot. Photo by Dorie Griggs

The first thing I lead with on my stories is how these restaurants are solving the audiences problem. That problem is cooking meals at home. There is a point for most people these days that they could use a break.

The second thing most people are interested in is how they can get some of their favorite restaurants food during this crisis, since they cannot go the the restaurant and dine-in.

photo by Dorie Griggs

One of my good friends Greg Thompson talked about him being taught the lesson of do what you are good at and let others do what they are good at on a mission trip.

While in another country the team he was working with were doing some construction. Up on the hill watching them were what they learned were the local construction guys who could use the work. They took up money and paid the guys to work and Greg then did what he was best at doing and that was taking photos.

photo by Dorie Griggs

I am sure you have been in Greg’s shoes as well. I know many of my friends talk about how they tried to save money only to have to call the experts sooner or later to do it right.

Two things I hope this time of crisis is teaching all of us. First know what you are good at doing and help others using those gifts of yours. Second, hire those experts who do it better than you whenever possible.

It is together we do community. While we all need to practice social distancing we can still call and connect with our neighbors.

Time to Give – Not Take!

photo by Dorie Griggs

March Madness means something totally different for 2020. Just a few weeks ago all of our plans were so different than what we ended up doing for this month.

I am watching so many of my friends and neighbors feeling the stress of the uncertainty that CORONA-19 Virus has brought to our lives.

I think this is the best time to reach out and help rather than looking for every way we can survive.

I work with restaurants most of my time. These past two weeks I have looked at local restaurants in my town and could sense how they needed our support. So I reached out to Slopes BBQ where my family has been eating ever since I moved to Roswell in 1993.

photo by Dorie Griggs

I asked Bob White if he would let me do a video to showcase his restaurant and team.

I realized that the number one thing they do is provide a service that meets a real need for many people. Most people get cabin fever and need to get out and they also get tired of eating their own cooking. For some people they don’t even know how to cook.

Here is the video I did to help remind those near Slopes BBQ that they are still open for carry out.

Do me a favor and share the video to your social media posts if you live nearby. Hopefully this will inspire others to help your neighbor.

Proverbs 3:28 tells us “Do not say to your neighbor, “Go, and come again, tomorrow I will give it”—when you have it with you.” In this verse, a neighbor is someone who asks for help. We are taught here that a neighbor is to be helped quickly, immediately. It also implies that our neighbor is someone we see regularly.

COVID-19 CRISIS: Danger or Opportunity

Operator Selection, Talent, Human Resources [NIKON Z 6, 35.0 mm f/1.4, Mode = Manual, ISO 50, 1/125, ƒ/6.3, (35mm = 35)]

Nothing can inspire you more than a crisis. The Chinese word for “crisis” is frequently invoked in Western motivational speaking as being composed of two Chinese characters signifying “danger” and “opportunity,” respectively.

I had already scheduled some photo shoots this week that I was able to keep; we just took the opportunity to show how my client was responding to the COVID-19 crisis.

My setup this week in my basement studio

I work most all the time with a formal shot list, or I have done something so many times that I know the list by heart.

Labor Costs [NIKON Z 6, 35.0 mm f/1.4, Mode = Manual, ISO 50, 1/125, ƒ/1.4, (35mm = 35)]

I have had one complex list. The team I am working with had this one category they called “Something that embodies.”

Labor Cost was one of those topics.

Labor Costs [NIKON Z 6, 60.0 mm f/2.8, Mode = Manual, ISO 50, 1/125, ƒ/25, (35mm = 60)]

I went online and Googled and looked for images others had done on the topic. This inspired me.

Family [NIKON Z 6, 60.0 mm f/2.8, Mode = Manual, ISO 50, 1/125, ƒ/40, (35mm = 60)]

I wanted to get some small people figurines and thought of Hobby Lobby near me.

I called to see if they were open, and they were. I went and found two sets of people. A Family and Young Adults were what I found in the store.

Auto Insurance [NIKON Z 6, 35.0 mm f/1.4, Mode = Manual, ISO 50, 1/125, ƒ/13, (35mm = 35)]

While there, I went ahead and bought some matchbox-style cars and trucks. I used them for the theme of “Auto Insurance.”

Auto Insurance [NIKON Z 6, 60.0 mm f/2.8, Mode = Manual, ISO 50, 1/125, ƒ/25, (35mm = 60)]

I then combined the two for other possibilities.

While shooting images is fun, the photos are not all that usable without a caption and those important “Keywords.”

You can easily add keywords in Adobe Lightroom, and here is a video showing you how to do this. Now when it is uploaded to an online library and someone searches, as long as I have created keywords in the metadata, they are findable.

Vehicle costs like insurance or maintenance [NIKON Z 6, 60.0 mm f/2.8, Mode = Manual, ISO 50, 1/125, ƒ/29, (35mm = 60)]

So for the past few days, I have been being productive and shooting images that some of my clients will use.

Healthcare application [NIKON Z 6, 60.0 mm f/2.8, Mode = Manual, ISO 50, 1/125, ƒ/18, (35mm = 60)]

This has helped me keep my sanity and keep my focus. While many are just seeing the “DANGER,” I have chosen to see the “OPPORTUNITY.”

Flashpoint XPlor 600 HSS TTL with Nikon Z6

Haley Newbold, the team member at Chick-fil-A Roswell Corners FSU, expedites an order to a customer in the drive-thru. The Dining Rooms are shut down during the Coronavirus outbreak. Paul Joubert’s restaurant Roswell Corners FSU is closed on its third day in the dining room. [NIKON Z 6, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 100, 1/60, ƒ/5.3, (35mm = 98)]

I have enjoyed working with the Flashpoint XPlor 600 HSS TTL to help with some tricky lighting situations.

Here you can see the two flashpoint xplor 600 have TTL flashes I am using outside to help with the light. [NIKON Z 6, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 100, 1/500, ƒ/3.5, (35mm = 28)]

Using the transmitter to change the settings on the flashes allows me not to have to stop shooting where I am standing and go and adjust each flash and then do more test shots. As they say, I can shoot and make the adjustments on the fly.

The strobes allow me to keep the background, which is about five stops brighter than the subject, not blown away. [NIKON Z 6, 35.0 mm f/1.4, Mode = Aperture Priority, ISO 100, 1/400, ƒ/1.4, (35mm = 35)]

The canopy had a white ceiling that I bounced off to get an even light to shoot these photos you see here.

[NIKON Z 6, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 100, 1/80, ƒ/2.8, (35mm = 15)]

Behind the guy’s head is one of the lights. The other is near the passenger door of this SUV bouncing as well.

[NIKON Z 6, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 100, 1/60, ƒ/4.5, (35mm = 48)]

On the other side of the building was the window to the restaurant for delivering food. I didn’t have the same size canopy and used a more direct flash that caught a slight overhang to bounce down.

[NIKON Z 6, 85.0 mm f/1.8, Mode = Aperture Priority, ISO 100, 1/2000, ƒ/1.8, (35mm = 85)]

They didn’t have the canopy at another drive-thru at a different restaurant. I just had my assistant man the off-camera flash and stay about 45º from the camera angle. That usually meant I was on one side of the car shooting, and the flash was on the other.

[NIKON Z 6, 85.0 mm f/1.8, Mode = Aperture Priority, ISO 100, 1/400, ƒ/1.8, (35mm = 85)]

I was shooting wide open at ƒ/1.4 with my 35mm and ƒ/1.8 with my 85mm. Since the flash is TTL, it also is HSS. That stands for High-Speed Sync.

I shot most all the photos on an overcast day with the strobes at shutter speeds of 1/400 up to 1/2000 with the flash.

Using Nikon’s software, I could see how the camera was focusing. It was on eye-tracking. Here I zoomed in so you can see the focus point.

I love shooting at ƒ/1.4, but few images were as sharp as they are now with the Nikon Z6 mirrorless that has eye-tracking.

[NIKON Z 6, 85.0 mm f/1.8, Mode = Aperture Priority, ISO 100, 1/800, ƒ/1.8, (35mm = 85)]

While shooting with the Nikon 85mm ƒ/1.8 lets me blur the background, which helps me make the subject pop. Using the flash helps get a catchlight in the eyes on an overcast day. It also helps increase the dynamic range.

TIPS:

  • Use fill-flash
  • Use wide aperture like ƒ/1.4 or ƒ/1.8
  • Use eye-tracking to get that precise focus on the eyes
  • Use Dehaze Slider in Lightroom – Helps bring back detail in hazy BOKEH
[NIKON Z 6, 85.0 mm f/1.8, Mode = Aperture Priority, ISO 100, 1/500, ƒ/1.8, (35mm = 85)]

More Self Isolating Photo Projects

Chelle Leary, Felicia Agostini, Lauren Baxter, Max Hipp, Thomas Beasley, Virginia Roulette [NIKON D4, 24.0-105.0 mm f/4.0, Mode = Manual, ISO 1600, 1/8000, ƒ/5, (35mm = 24)]

“Whenever you go on a trip to visit foreign lands or distant places, remember that they are all someone’s home and backyard.”

― Vera Nazarian

I shot this photo in my backyard a few years ago. This is to show you some of your best work can happen at home.

Testing of the Sigma 35mm ƒ/1.4 Art lens for setup [NIKON D750, 35.0 mm f/1.4, Mode = Aperture Priority, ISO 100, 1/3200, ƒ/1.4, (35mm = 35)]

I often test some ideas at home that I later execute somewhere else.

Fruit Stand on farm [NIKON D750, 35.0 mm f/1.4, Mode = Manual, ISO 50, 1/640, ƒ/1.4, (35mm = 35)]

I have spent hours photographing birds that visit our yard.

Red-bellied Woodpecker [NIKON D4, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 4000, 1/320, ƒ/6.3, (35mm = 300)]
Red-tailed Hawk in our backyard on our deck. [Fuji X-E2, Fuji 55-200mm, ISO 1000, ƒ/4.8, 1/400]

I have also photographed hummingbirds in our yard.

[Nikon, 120.0-300.0 mm f/2.8, ISO 6400, ƒ / 10, ¹⁄₂₀₀₀ sec] [NIKON D4, 120.0-300.0 mm f/2.8, Mode = Shutter Priority, ISO 6400, 1/2000, ƒ/10, (35mm = 600)]

“You can spend your whole life traveling worldwide searching for the Garden of Eden, or you can create it in your backyard.”

― Khang Kijarro Nguyen
Mushrooms in yard [NIKON D750, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 2500, 1/500, ƒ/5.6, (35mm = 300)]

Take your camera and explore your house and yard.

Take your lights outside and have fun as well in your yard.

Pocketwizard AC9 Test

Try your small lights as well. See what you can do with all this time in isolation.

Testing the MagMod for headshots
Taylor Lalli

Something to shoot during self isolation

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1250, ƒ/6.3, (35mm = 30)]

This was one of my favorite photo shoots. I loved the Dodge Viper for the lines and styling.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1250, ƒ/8, (35mm = 68)]

I recommend just having fun at your own house, taking photos of some fun objects. I went to the local store, bought this car, and then just had fun lighting it.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/640, ƒ/7.1, (35mm = 45)]

I even shot this on a super simple Nikon P7000 point-and-shoot camera.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1250, ƒ/7.1, (35mm = 41)]

I suspended one large 32″ x 40″ softbox above the car on a white seamless.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1250, ƒ/6.3, (35mm = 30)]

After shooting with a simple lighting setup I decided to ad some color.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/640, ƒ/8, (35mm = 153)]

So I added some blue and then tried red.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1000, ƒ/7.1, (35mm = 119)]

This is so fun to take a model car and see what you can do with a simple light and white background.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1250, ƒ/7.1, (35mm = 41)]

I put this last photo in for scale. I don’t think the local store has sold out of car models. Next time you buy toilet paper during our coronavirus social isolating crisis, pick up a car and have fun with your camera and simple light. Use a white sheet, or since the car is so tiny, maybe just a pillow case and create some fun images.

Environmental Portrait

I am often asked to do an environmental portrait of a subject. I do a variety of photos from posed to them doing something.

Nathan enjoys running for a hobby. [NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 12800, 1/200, ƒ/8, (35mm = 62)]

Here I have assembled some examples of shots I would look to do for a person being featured. I ask them about their hobbies and what they do at work, and then we shoot everything I can do with the time I am given with the subject.

Nathan is leading a meeting in his job with Chick-fil-A. [NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 7200, 1/100, ƒ/9, (35mm = 58)]

We try to capture some images of him doing everything we can think of.

Nathan often is talking one on one with some of the teams that he leads. [NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 11400, 1/100, ƒ/8, (35mm = 14)]
Nathan [NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 2000, 1/100, ƒ/6.3, (35mm = 16)]
Nathan [NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 2200, 1/100, ƒ/6.3, (35mm = 14)]
Nathan [NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 2800, 1/100, ƒ/6.3, (35mm = 14)]

You cannot settle for one photo; that is all you give an editor. It would be best if you mixed it up.

Nathan [NIKON D4, 85.0 mm f/1.4, Mode = Aperture Priority, ISO 560, 1/100, ƒ/1.4, (35mm = 85)]

Here I have the logo for Chick-fil-A in the background. I like the photo but thought it might be too blurred.

Nathan [NIKON D4, 85.0 mm f/1.4, Mode = Aperture Priority, ISO 1800, 1/100, ƒ/2.8, (35mm = 85)]

Before you arrive, have a call with the editor or writer who will tell you everything they know about the person and what the story is they are writing.

Next, call the subject and talk with them, telling them what you have been asked to do. Then ask them about their hobbies and interests and anything else you can think about that would work for possible locations for photographing them.

Then get as much time as you can so you can capture as many of these as you can do. Prioritize them so you get the ones you think are best, and if you run out of time that the best ideas are the ones you will capture.

Storytellers cannot be Wishy Washy

The other day I was processing some of my thoughts with one of my mentors Greg Thompson.

Greg Thompson, Retired Director of Corporate Communications, Chick-fil-A [NIKON D5, 85.0 mm f/1.8, ISO 100, ƒ/1.8, 1/30]

Greg Thompson retired last year from Chick-fil-A, where he was the senior director of corporate communications. Before joining Chick-fil-A, Greg spent 25 years in various global communications management roles for IBM in the U.S. and
Asia, including more than five years living in Tokyo, Japan. Greg joined IBM after a career as a photographer, sports writer, political writer, editor, and bureau chief for three newspapers and The Associated Press.

I was getting frustrated with some people who were not refining the story but instead expanding the story. So, I made a comment that I thought writers were used to being able to make changes up to the last minute. Greg said that in his years of experience, it was not due to being a writer but to being indecisive.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 4000, ƒ/8, 1/100

I have been working with our Advanced Storytellers workshop in Nicaragua. The biggest thing we are doing in this workshop is inviting the participants to see how to create a communications plan. The plan is to tell a story that will help a missionary organization.

A lack of process clarity guarantees a slower, more convoluted path to the desired outcome. It would help if you made decisions that will have you focused on compellingly telling a story that invites the audience to join the narrative.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 640, ƒ/9, 1/100

What I watch happen every time with any organization is they want to tell the audience everything they do and, in the process, not only don’t engage the audience but turn them off.

If you step logically through a proven process, you will waste less time and use the right resources at the right time.

Before we even begin to tell a story, we ask the organization what the problem they need to solve is. If we do our job as professional communicators, what will success look like to them?

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 14400, ƒ/11, 1/100

Once we have this goal, we know our purpose and can decide if something stays or gets cut in our communications.

We are using the hero’s journey as a framework to tell stories. The very first thing we will do is establish a crisis for the main character.

Man with his son and horse in the downtown of San Benito, Nicaragua. [Nikon D5, Sigma 24-105mm ƒ/4, ISO 200, ƒ/9, 1/100]

The 2018–2020 Nicaraguan protests began on 18 April 2018 when demonstrators in several cities of Nicaragua started to protest against the social security reforms decreed by President Daniel Ortega that increased taxes and decreased benefits. After five days of unrest in which nearly thirty people were killed, Ortega announced the cancellation of the reforms.

The missionaries we are working with had to leave Nicaragua quickly. Many went to neighboring Costa Rica. When they left Nicaragua, some of their supporters stopped their support of the center they used as a base and redirected those funds to other missionary projects in other countries.

Nikon D5, Nikon 85mm ƒ/1.8, ISO 800, ƒ/1.8, 1/100

The center defunded in this process has served as a hub of their ministry since they returned. It is like a small college or camp. It has dormitories, a dining area, and classrooms, making it a great place to host groups for all types of training.

We started with their objective and goal, which was to raise financial support of at least $4,000 a month for their operational budget. Even though we had talked through this, some missionaries didn’t understand why we had to start with the protest and them leaving the country, but the audience needed to know quickly why there was a problem. Why are you contacting them and wanting their support?

Community nursing in Nicaragua [NIKON D5, 24.0-105.0 mm f/4.0, Mode = Aperture Priority, ISO 32000, 1/100, ƒ/14, (35mm = 24)]

Too often, missionaries and any organization want to tell people all they are doing. Keeping everything positive but missing the critical part that storytelling does better than a bullet list. When I hear many people speak from nonprofits, I wonder why they need help. They have built wells or built churches. They tell you all their successes and never do a good job of establishing why they need money.

You always start with the crisis in a story. It helps to clarify the objective of the organization. We are trying to solve this problem, and the story invites the audience to join in the main character’s journey.

You can do it faster when you know precisely what you are trying to achieve. Period. I doubt that requires more explanation. Speed comes from greater clarity of purpose and process.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 100, ƒ/4, 1/160

Right from the start, I asked the missionary team about their most significant need. What keeps you up at night and worrying about tomorrow?

If they lose the center where they are doing their ministry, everything will get more complicated, expensive, and even prohibitive in some cases for them to do their work.

Once we knew the priority, we looked for people they had helped through the center in the past to tell their stories. We have many more people like this person to help and need the audience to come along with them and help them accomplish their goal of changing lives for the better.

After some questions, they mentioned this pastor. He was called into the country where some people wanted to start a church. He didn’t know how to do this and needed help. He heard about the missionaries. They told him about their center and their classes.

Out of this church, another crisis for the community started to pop up. The kids didn’t have much to do and just got involved in drugs, and many girls became pregnant as early as 9 or 10 years of age. This led them to start programs for the youth in that community. They had church teams from the US come in and do camp programs during the summer, and the center helped to train the community to create programming for the youth.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 1250, ƒ/4, 1/100

Other programs for women who needed a purpose in their lives came through bible studies, teaching them how to reach their neighbors.

We have decided to learn more about these different programs that this pastor’s church has created with the help of the center to tell the story of how this center is helping to change the lives of communities in Nicaragua.

Muddled processes don’t provide much evidence of logic, sound input, fairness, or representation of interests. Confused decision processes create skeptics and cynics, not supporters of those missionaries.

We will have limited time in the country, so we are trying to identify all the characters and as much as possible about their stories before we land in Managua. We have had three video conference calls with the team. The team comprises people from four countries—Togo, West Africa; Columbia, South America; Nicaragua, and the United States.

Children hold up a meal that the center helped deliver in this San Benito, Nicaragua neighborhood [NIKON D5, 24.0-105.0 mm f/4.0, Mode = Aperture Priority, ISO 110, 1/100, ƒ/4, (35mm = 35)]

Next month when we land, we need to have all the interviews lined up and then have time to capture video and photography of these people in their churches, homes, and places of business to tell their stories.

If you get off the plane and nothing is lined up, it is because we were Wishy Washy.

By creating clarity of purpose, process, and roles, people learn to trust the system and let go. Once that happens, they can get back to their top priorities and amp up their ability to focus.

Numerous missionary teams think they are focused but are working on five decisions and two plans simultaneously. And they wonder why they keep going in circles. They haven’t figured out what decision they are making and are trying to make several at once.

A little boy in Nicaragua. [Nikon D5, Sigma 24-105mm ƒ/4, ISO 560, ƒ/4, 1/100]

How you leave people feeling is always important. Decisions made with clarity produce the best results across the board.

Here is my list that I work through with missionary organizations:

  1. What is the #1 priority problem that needs help? What is it that keeps you up at night from sleeping?
  2. Is there someone that you have helped that represents what success looks like? This becomes the main character
  3. What was their problem that you helped them with?
  4. Who on your team helped them? Who was the guide in the story?
  5. What was the plan that the guide had for the main character?
  6. What was the call to action from the focus to the subject?
  7. What does failure look like if the issue isn’t successful?
  8. What was the success of the matter?

Due to time constraints and budget, we must stay focused. Sometimes there isn’t a clear choice in this process, but you must pick. Suppose you have to flip a coin. Don’t be Wishy Washy.

Two different lenses shooting Hawaii Tropical Botanical Garden

If magically I could have any lens on the camera at any moment, I would be switching lenses all the time. If I could do this in the blink of an eye, I would. They would probably all be prime lenses, but often this isn’t very practical.

Since magically switching lenses with a blink of an eye isn’t possible, I decided to take my Sigma 35mm ƒ/1.4 Art lens mounted on my Nikon Z6 and then keep the Nikon 28-300mm ƒ/3.5-5.6 on my Nikon D5 as I went through the Hawaii Tropical Botanical Garden which is just north of Hilo on the Big Island of Hawaii.

Hawaii Tropical Botanical Garden [NIKON D5, AF-S Nikkor 28-300mm f/3.5-5.6G ED VR, Mode = Aperture Priority, ISO 4500, 1/500, ƒ/5.6, (35mm = 300)]

I think you sometimes will need to read the specs to tell the difference. When shooting the 28-300mm @ 300mm, the compression creates a shallow depth of field even at ƒ/5.6.

[NIKON Z 6, AF 35mm f/1.4G, Mode = Aperture Priority, ISO 400, 1/500, ƒ/1.4, (35mm = 35)]

Sometimes the shallow depth of field is almost too shallow. So I would shoot some at different apertures and then pick.

[NIKON Z 6, AF 35mm f/1.4G, Mode = Aperture Priority, ISO 1600, 1/500, ƒ/5, (35mm = 35)]
Hawaii Tropical Botanical Garden [NIKON Z 6, AF 35mm f/1.4G, Mode = Aperture Priority, ISO 640, 1/500, ƒ/1.4, (35mm = 35)]

I think I like some from both lenses for different reasons. What do you think?

[NIKON D5, AF-S Nikkor 28-300mm f/3.5-5.6G ED VR, Mode = Aperture Priority, ISO 3600, 1/500, ƒ/5.6, (35mm = 300)]
Hawaii Tropical Botanical Garden [NIKON Z 6, AF 35mm f/1.4G, Mode = Aperture Priority, ISO 280, 1/500, ƒ/1.4, (35mm = 35)]
Hawaii Tropical Botanical Garden [NIKON Z 6, AF 35mm f/1.4G, Mode = Aperture Priority, ISO 280, 1/500, ƒ/1.4, (35mm = 35)]
Hawaii Tropical Botanical Garden [NIKON D5, AF-S Nikkor 28-300mm f/3.5-5.6G ED VR, Mode = Aperture Priority, ISO 5000, 1/500, ƒ/5.6, (35mm = 300)]

I think that the ƒ/1.4 is a really smooth and silky BOKEH, but the 300mm @ ƒ/5.6 isn’t bad if you didn’t have that one lens.

The more I travel, the more I think if you have to be weight conscious, the Nikon 28-300mm ƒ/3.5-5.6 is an excellent lens.

The Golden Minute in the Golden Hour

[NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 250, 1/500, ƒ/4, (35mm = 24)]

We often enjoy photographing sunsets and even talk about the Golden Hour of light for photography. The Golden Hour (sometimes called the Magic Hour) is usually defined as the first and last hour of sunlight in the day when the exceptional quality of light yields stunning photographs.

I have found that when it comes to matching the artificial light of buildings within the Golden Hour, it shrinks to just minutes of suitable time for great light.

Dinner at The Fish Hopper, Kona with my wife Dorie. [NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 18000, 1/500, ƒ/4, (35mm = 24)]

Now the difference between this photo where the light outside is balancing well with the restaurant’s light was just a few minutes between too much light and too little light from the sun.

Dinner at The Fish Hopper Kona [NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 3200, 1/500, ƒ/4, (35mm = 24)]

The top photo of my wife was shot at 6:32 pm. Right about the time of sunset. This one just above was shot at 6:18 pm.

Dinner at The Fish Hopper Kona [NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 51200, 1/200, ƒ/4, (35mm = 24)]

From my many years of shooting, I have noticed that from the time of actual sunset to when balancing light with artificial lights like here, you have about 15 to 20 minutes tops for good photos. I think there is a 5-minute window for the best pictures.

Dinner at The Fish Hopper Kona [SM-G973U, , Mode = Normal, ISO 800, 1/17, ƒ/2.2, (35mm = 13)]

My favorite shot was done on my Galaxy S10 phone and with a wide-angle lens. That is 13mm, equivalent to the 35mm camera. This is shot at 6:40 pm, 13 minutes after sunset.

By the way, the food and atmosphere of The Fish Hopper in Kona, Hawaii, are excellent. The waitress was one of the best we have ever had. Big shout out to Bridget Kaleki Butler for the recommendation.

A week in paradise teaching studio lighting & business practices.

Photo above [NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 100, 1/60, ƒ/6.3, (35mm = 35) flash used was Flashpoint XPLOR 600 HSS TTL Monolight w/ R2 2.4GHz using the R2 Mark II ETTL Wireless Flash Trigger for Nikon -1 EV setting with TTL]

Every year since 2006, Dennis Fahringer has invited me to teach his School of Photography 1 student at the University of Nations in Kona, Hawaii, studio lighting.

Stanley teaching “Butterfly Lighting” photo by Dorie Griggs

While I was initially asked to teach only studio lighting, I have also introduced some business practices.

I believe every successful business starts first with the customer and discovering what needs/want they have, and creating a business that meets those needs/wants. Too many photography programs only teach how to do photography and never give their students the one thing that will determine their ability to do this as a career and not a hobby–business skills.

selfie was taken with the class in the photo studio

Dennis caps the class at 16 students. He usually has a waiting list. This year we only had four students. This just meant this class got even more one-on-one time with their instructors.

The students were from four countries this year. Columbia, S. Korea, Canada & USA. Some years we had as many as nine different countries represented. They fly to Kailua-Kona, Hawaii, and spend three months doing just photography. I believe that Dennis has put together one of the best foundation courses for photography that I have ever seen.

On my first day, I teach how to turn on the studio flashes, adjust their power, and make them work with your camera. Their first lighting assignment is to start with just one light and learn how to place the light in the starting place for most portraits. That is 45º to the side of the camera and then 45º above their eye level. When done correctly and the subject is looking at the camera, you will get the classic lighting style of Rembrandt.

Here is a link to that first assignment they do in case you also want to try it yourself: https://picturestoryteller.com/2016/02/08/seeing-rembrandt-lighting-and-then-creating-it/

This is Alden Engelbrecht from South Africa. “Be still and know that I am God” (Psalms 46:10) © Kate Covington 2020, USA

Day two is learning how to do Butterfly Lighting.

Butterfly lighting is a portrait lighting pattern where the key light is placed above and directly centered with a subject’s face. This creates a shadow under the nose that resembles a butterfly. It’s also known as ‘Paramount lighting,’ named for classic Hollywood glamour photography.

Here is a link to that assignment: https://picturestoryteller.com/2019/03/02/students-butterfly-lighting-examples/

Brandon Albers was doing homework until 4 AM last night, and this is him celebrating. He is done and can go to the pool after three months of complex studies. © Diego Antorveza 2020, Columbia

On day three, we tackled 3:1 Ratio Lighting.

The lighting ratio in photography refers to the comparison of key light (the primary source of light from which shadows fall) to the fill light (the light that fills in the shadow areas). The higher the lighting ratio, the higher the image’s contrast; the lower the ratio, the lower the difference.

Here is a link to that assignment: https://picturestoryteller.com/2016/02/10/lighting-setup-2-assignment-for-my-class-31-lighting-ratio/

This is Ireland Rash. She struggled when deciding whether or not to come to YWAM Kona but knew God was calling her to it. She now confidently states that it was the best decision of her life. © Raylene Neill 2020, Canada

The mixed lighting assignment was to use one light to improve the photo. I asked them to hand in 2 images—one without the light and the second showing how the light improved the picture.

Here is that assignment: https://picturestoryteller.com/2016/02/12/lighting-assignment-combining-studio-strobes-with-available-light/

I also asked that each photo have a caption. There are two reasons for this. First, it is easier later to find the image if you have text embedded in the metadata. Second, most clients will also benefit from having this information. We were not using the AP Style for captions but more of a social media style for the captions. This was their first attempt for most of them in writing captions.

Myoungsuk Kim said, “This week has taught me that I can take photos not just for me, but for others.” That was one of the best things I could have heard.

You see, most people want to do photography and get paid but are usually self-centered in their photography. It is when you realize that when you make photos that others enjoy and, more importantly, use, they will pay you to do this, making it possible to do this for a living.

“The evidence is overwhelming: The best way to get what you want is through serving others.”

anonymous