Travel Photography

A Jamaican dancer dances the limbo under a stick of fire held in place by coke bottles. 

Today’s digital camera makes travel photography more accessible than ever.

NEXTO DI NPS-10 Nexto Photo Storage – You add an SSD hard drive of your choice and size. Many photographers use the Samsung 2TB 860 EVO SATA III 2.5″ Internal SSD.

You’ll need several memory cards if you plan to take many pictures, or you can carry a small Memory Card Back-up Device to store and view your digital images. These are available in various hard drive capacities and are equipped with screens for viewing your pictures. You can keep your photos on your laptop and free up your digital cards for more photographs. 

The Island Breeze Lu’au at the Kona Beach Hotel in Kona, Hawaii, takes place just at dusk and makes for dramatic lighting. 

A single zoom lens such as an 18mm – 200 mm may be all you need to carry. Traveling light makes your trip more accessible and enjoyable and has some hidden advantages. I love shooting with my Nikon 28-300mm.

Nikon AF-S FX NIKKOR 28-300mm f/3.5-5.6G ED Vibration Reduction Zoom Lens with Auto Focus

It is easier to make natural photos when people don’t perceive you as a professional photographer. They relax and are more themselves. Whipping out a considerable lens or lugging a large camera bag around can intimidate your subjects. Another advantage to traveling light – you want to attract as many thieves. 

Buy a good guidebook about the places you plan to visit. National Geographic publishes excellent travel guides that help you plan your trip and your photography. We used their book for our trip to Hawaii. 

Guidebooks tell you about incredible places, and many describe the best time of day to photograph specific locations. Guidebooks are a must-have. They’ll keep you from being in the wrong place at the wrong time with the bad light for great photos. 

Check out the postcards. They can save you time finding the best angle. Looking at the postcards and perhaps asking the locals where they were made puts you on the trail to the most scenic locations for great photos. Once you find that general area look around, and you can probably improve on the postcard picture. 

At the Holei Pali Lookout, just before the 15-mile marker, there is an excellent view of the mountain lava flows, where you get a feel for the volume of a’a and pahoehoe that drooled down the mountain.

Make the best photograph possible when you find the perfect spot, then do the obligatory “in-front-of” shot. You know, the one that shows that you and yours were there, but be careful. There are a couple of things to watch out for. Place the family so that where you are is (1) the only place that photo could have been made. Place the people to one side, perhaps up close, so that (2) the folks are recognizable and be sure the “scenic attraction” is also identifiable in the photo. If you covered it up, you could have stayed home and taken the picture in the backyard. 

Compose the background first
And then put the people in the photo. South Point, Hawaii, is the southernmost tip of the United States. 

Overshooting ensures excellent photos. Give yourself room to edit when you’re back home. If you seldom write, you probably wouldn’t use the first sentence you thought of to start a paper. In writing, we usually put down as many thoughts as we can and then edit. From all the thoughts and ideas jotted down, we find the ones that work best. 

A young boy makes me some coffee using Nescafe Instant coffee at a roadside cafe in Tenkodogo, Burkina Faso, where they serve food, petrol, and drinks. [Nikon D2X, Sigma 18-50mm ƒ/2.8, ISO 400, ƒ/2.8, 1/50, Focal Length = 27]

Do the same in photography. Take lots and lots of photos. It gets the creative juices flowing. Besides, it’s fun. Try different angles: close-up, wide angle, zooming in. Shoot at low angles, climb up high and look for new ways of seeing the subject. Back up and take the long, establishing shot. Turn around and see what’s behind you; it could be just as exciting as what is in front. 

Use your camera to journal your trip. Photograph the food you eat, where you stay, and the people you meet. Some of these “notes” may appear in large print on your wall. 

Different angle highlights the cultural differences of these kids in a class in West Africa.  [NIKON D2X, AF Zoom 18-50mm f/2.8G, ISO 400, ƒ/6.3, 1/50, Focal Length = 75]

With digital, you can shoot a thousand rolls of film and fit it into a memory card. Talk about traveling light… and cheap -no film cost. 

I’ve never heard anyone say they took too many photos on their trip. I have listened to the sad stories of many people who left the camera in the room and missed golden opportunities. 

Expression

A person’s expression can make the photograph or break it.

Everyone recognizes and is affected by people’s expressions of being happy, sleepy, cheerful, silly… you get the idea.

[NIKON Z 6, 35.0 mm f/1.4, Mode = Aperture Priority, ISO 100, 1/250, ƒ/1.4, (35mm = 35)]

Understanding how our feelings we translated into expressions helps you understand and capture these moments. 

You need to learn to look at people’s expressions and immediately be able to know how this makes you feel.  Your reactions to others’ expressions help you understand the power of what they are communicating to the world through their expressions.  One of the benefits of this exercise is realizing each of us is expressing how we feel to the world through our expressions.

Storytellers Abroad Multimedia Workshop Kosovo Leadership Academy (KLA) [NIKON D5, 35.0 mm f/1.4, Mode = Aperture Priority, ISO 400, 1/100, ƒ/1.4, (35mm = 35)]

Once you have taken the time to realize what an expression communicates, you can then ask what causes this expression.  The answer to this question will help one to anticipate.  What caused them to smile?  This cause and effect help you know when you recognize those events that get reactions—you need only point the camera in the right direction and zoom in for a successful photograph.

Chelle celebrated her 11th birthday on Sunday, November 1st, with Julia, Katarina & her sister, Simone, Fiona, and Erin Snedeker [NIKON D3, Mode = Aperture Priority, ISO 1250, 1/20, ƒ/4, (35mm = 14)]

When people open their birthday presents, those who bought the gifts will often know if this was on the person’s wish list.  Watching my daughter open her presents on her birthday and Christmas was easy to anticipate the expressions of joy.

Alfred Eisenstaedt, known to millions worldwide through his work for LIFE Magazine, made a famous photograph of children’s reactions to a puppet show.  Today professional photographers point their cameras as much to the reactions as the actions for storytelling expressions.

Monday in Trinidad [NIKON Z 6, 24.0-105.0 mm f/4.0, Mode = Aperture Priority, ISO 12800, 1/250, ƒ/4, (35mm = 48)]

Where are some of the best places to start making great expression-driven photos?  I think special events with some obvious timeline scheduled events are the best places to start—opening the presents we have already mentioned.  Another would be an audience reaction to a speaker. 

RPC Children’s Choirs present “Table for Five. . . Thousand! The Miracle of the Loaves and Fishes” A musical by Tom S. Long and Allen Pote Mother’s Day [NIKON D3S, Mode = Aperture Priority, ISO 5600, 1/500, ƒ/5.6, (35mm = 120)]

Some funniest expressions are when people forget they are the center of attention—like a children’s performance.  Parents can capture great photos of their children during performances.  But to capture the expressions, you have to be close.

[NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 51200, 1/80, ƒ/16, (35mm = 105)]

A good rule of thumb for ensuring an expression is seen to remember can you tell time by the size of the person’s face.  There is a convenient reason we do not have wristwatches hanging on walls to tell time and just a good reason we don’t wear wall clocks on our wrists.  When you look at a wristwatch on your hand, it is very close to your face.  It is almost the same size as the clock face on the wall across the room when you hold your hand up with the clock on the wall in the background.

Military Appreciation Event [NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 200, 1/250, ƒ/5, (35mm = 40)]

So, if you want people to see the expressions get close.  Great expressions only work if they have the “WOW” factor, which is achieved by the expression being large enough for people to see.

Are you a Hawker or Fixer?

Hawker – a person who travels around selling goods, typically advertising them by shouting.

Fixer – A fixer is someone who carries out assignments for someone else or is good at solving problems for others. The term has different meanings in different contexts. In British usage, the time is neutral, meaning “the sort of person who solves problems and gets things done.” 

Stanley Leary Portrait

I have always been a fixer. I am a fixer. I like problems, and I like puzzles, and I like to help people, so I have been a fixer, and I have always been an educator.

Tabatha Coffey

I feel like Tabatha says what I believe about myself so reasonably. Just the other day, a college student came and stayed with us. He had an event to go to the next day in our town.

While we were sitting around, he pulled out his Macbook Pro and a separate keyboard and mouse. I asked why he was using the keyboard.

His trackpad and keyboard were no longer working. He was a poor student; before he left our house, I had the trackpad and mouse working again. It was my mission to solve his problem.

Become a fixer, not just a fixture.

Anthony J. D’Angelo

Sometimes you need to be a Hawker because you cannot find anything to fix for others. Hawking is then a matter of telling people the skills you have to fix things they have forgotten to mention.

Cesare Bambaro (male Lay Leader) is the lay leader of 1st Baptist Garango. Jay Shafto helps with the translation from the Bissa language into English. (Photo by: Stanley Leary) [NIKON D2X, AF Zoom 70-200mm f/2.8D, ISO 400, ƒ/2.8, 1/250, Focal Length = 270]

The problem is if you see yourself as a Hawker, you cannot become the Fixer. You are too busy, Hawking.

Spend a lot of time talking to customers face to face. You’d be amazed how many companies don’t listen to their customers.

Ross Perot

I would change that quote to “Spend a lot of time asking questions and listening to customers face to face.”

Your questions should not be “do you have photography needs,” but what keeps you up at night? What are the most significant problems your customers are struggling with today? How is that different than a few years ago?

Get to know their business, not just look for how they can use your business. Sometimes the best way to build a client is to refer them to someone else for something you don’t do, but someone you know does well. They will remember you.

While there are times you may need to be a Hawker, spend most of your time trying to be a Fixer.

Want to be a full-time Pro?

I have written several posts in the past talking about business practices to make it.

Today I want to address what I have noticed is the difference between those who are successful and those who fail.

Alabama wide receiver Jerry Jeudy (4) breaks up an interception attempt by Duke cornerback Josh Blackwell (31) in the Chick-fil-A Kickoff Game at Mercedes Benz Stadium in Atlanta, Ga., on Saturday, August 31, 2019. [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 22800, 1/4000, ƒ/5.6, (35mm = 380)]

What kind of a Dreamer are you?

There are typically two types of photographers—some dream about having the experience of enjoying the perks of being a photographer.

Former President Jimmy Carter speaks to the moderator Karin Ryan, senior policy advisor on human rights and special representative on women and girls at the Carter Center during the Harmonizing Religion and Human Rights Conversations at The Carter Center on Wednesday, December 5, 2018. [NIKON Z 6, 28.0-300.0 mm f/3.5-5.6, ISO 10000, ƒ/5.6, 1/200]

I know many people are fascinated by who I have met as a photographer.

Tonight’s Sunset is looking towards the Andes Mountains from Santiago, Chile. [NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 450, 1/100, ƒ/5.6, (35mm = 75)]

Many people want the experience of seeing the world. Whatever they dream about is more about the experience of being a photographer that occupies their dreams.

The other type of photographer dreams as well. They are thinking about their clients and prospects. They are thinking of how their photography can help them.

Cosmic Bowling for 2014 Awards Book [NIKON D750, 85.0 mm f/1.8, Mode = Aperture Priority, ISO 2200, 1/80, ƒ/1.8, (35mm = 85)]

I often find myself thinking through assignments and what I will need to help take the end product up a notch. I am thinking about questions I need to ask to understand the expectations of clients and prospects better.

If you dream about how fun it would be to have a career, then don’t pursue this as a career; keep it as a hobby.

However, if you are thinking of how to problem solve for people to use your skills to improve their lives–you might make it.

Creating a Portfolio

[NIKON Z 6, 35.0 mm f/1.4, Mode = Aperture Priority, ISO 100, 1/160, ƒ/1.4, (35mm = 35)]

Creating a portfolio should be about showing what you can do so that others can decide to hire you. The decisions on what should go into your portfolio should be to persuade people that your work style will help them promote their business.

Island Breeze Performance [NIKON D3S, 14.0-24.0 mm f/2.8, Mode = Manual, ISO 400, 1/500, ƒ/3.2, (35mm = 14)]

With my portfolio, I like to show my skills to educated buyers. Most of the time, I am hired by people who are used to hiring photographers and therefore are looking for competency and warmth.

I like to show my ability to create using light and not just capturing the natural light.

Fire Dancer [NIKON D3S, 14.0-24.0 mm f/2.8, ISO 200, f/7.1, 1/100]

My good friend Tony Messano, an art director, coached me to show a different skill with each photo. Once you have established you can do something, don’t just show the same talent over and over.

Duke 3 vs Alabama 42 Final Score [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 25600, 1/4000, ƒ/5.6, (35mm = 600)]

One of the skills I like to show is my ability to get the moment. Sports photos show this, but everyday life that seems to be moving slowly is just as fast as a sports game. This is true when looking for that “slice of life” to grab people’s attention and move their hearts, as you need to do with nonprofits.

The Cows at Roswell Town Center celebrate Cow Appreciation Day 2018 in Roswell, GA. [Nikon D5, Sigma 24-105mm, ISO 400, ƒ/5.6, 1/3200 – Godox V860IIN + Godox X1NT]

Some clients want to know that I can “Create a Moment” as much as capture it.

This police officer is modeling the AmeriGlo serrated ghost ring. AmeriGlo sights are machined from solid bar stock steel and assembled with laser-sealed tritium lamps. Unsurpassed tritium brightness makes this ideal for law enforcement, public safety, personal defense, and recreational use. This photo was made for the client to use in a display for a trade show.
 [NIKON D100, 24-120mm , Mode = Manual, ISO , 1/160, ƒ/22, (35mm = 300)]
Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1000, ƒ/7.1, (35mm = 119)]

While the ability to get the norm is required, bringing the unexpected is what can separate you from others.

Bertil Brahn, Clean Air [NIKON D2Xs, AF Zoom 122-300mm f/2.8D, Mode = Manual, ISO 100, 1/8, ƒ/14, (35mm = 330)]

My tips for a portfolio

  • Your Best Technically Executed Photos
  • Photos that evoke emotions and engage the viewer
  • Show your technical versatility
  • Each image shows something different
  • Show you can work with a subject
  • Show who has already used you
  • Show what you love to shoot – Your Passion [that people will pay you to shoot]
Chick-fil-A Peach Bowl 2018 Florida vs. Michigan [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 32000, 1/4000, ƒ/5.6, (35mm = 550)]
Fruits sold in Chick-fil-A [NIKON D750, 120.0-300.0 mm f/2.8, Mode = Manual, ISO 50, 1/40, ƒ/6.3, (35mm = 270)]
Father and Son Campout [NIKON D3S, 24.0-120.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 3200, 1/25, ƒ/3.8, (35mm = 28)]

I like to show clients I know how to capture lasers which are invisible to the eye most of the time.

Researchers are testing a new jet nozzle using a laser to measure its efficiency at the Georgia Tech Jet Propulsion Lab.

Photography is about transporting people to a moment in time that they would also like to be a part of.

People’s Fest @ Atlantic Station Celebrating the launch of People’s Food Truck Featuring Marc Broussard [NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 12800, 1/125, ƒ/2.8, (35mm = 14)]
Early morning walk on the beach at Ocean Isle, North Carolina. Leary Family Vacation [NIKON Z 6, VR Zoom 24-105mm f/4G IF-ED, Mode = Aperture Priority, ISO 110, 1/250, ƒ/5.6, (35mm = 48)]

You are busy but not Happy

Sometimes you have done an excellent job promoting yourself, but you forget to pursue your passion. This is why you should do personal projects that help define what you are most passionate about. While you may still need to do some of the work you are good at to pay the bills, you must also have projects on your calendar that you look forward to.

Children of the local pastor in his corn field in Togo, West Africa [NIKON D5, 35.0 mm f/1.4, Mode = Aperture Priority, ISO 100, 1/2000, ƒ/1.4, (35mm = 35)]

I love shooting the work missionaries are doing around the world. I love meeting people from all walks of life.

Herăști, Giurgiu, Romania [NIKON D750, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 1400, 1/100, ƒ/5.6, (35mm = 250)]
Work in remote village of El Pedrero, Honduras. [NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 160, 1/250, ƒ/5.6, (35mm = 15)]
Father Flor Maria Rigoni, “a world leader in the field of migration,” after working in Europe and Africa, Father Rigoni settled in Mexico in 1985. Since then, he has fought tirelessly to better the lives of migrants seeking relief at the Scalabrinians’ Bethlehem shelter in Tapachula, Chiapas, Mexico.
  [NIKON D3S, 24.0-120.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 800, 1/250, ƒ/5.6, (35mm = 82)]

Check out how I have presented my work on my website under “Portfolio” http://stanleyleary.com/.

Calibrating the Face for Portraits

Christi Lamb
[NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4, (35mm = 85)]

Every semester I go down to Columbus, Georgia, and help Columbus State University Theatre majors by doing headshots for a small price.

I find that getting actors in front of the camera requires permission to show what they can do with their faces. To be a good actor, they often spend a lot of time in front of a mirror perfecting expressions.

I think of this as stretching before you run or warming up the voice.

Then when you hit an expression, you are more relaxed.

Debrinja Watts [NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4.5, (35mm = 85)]

When you laugh, it is more genuine.

Gabrielle Solomon [NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4, (35mm = 85)]

I always have so much fun with the actors.

Jasmine Campbell [NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4, (35mm = 85)]

This year we had more freshmen than in the past. It was great to meet so many new students. I can’t wait to see them in performances.

Britt Woods [NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4, (35mm = 85)]

While often this is all you will see as the final headshot they use, we had fun working on this to get those natural and authentic expressions.

Next time you have your portrait made, ask the photographer to let you try a range of expressions.

Kiki Ellis [NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4, (35mm = 85)]

Ian Rossin is not trying to be an actor; he is studying theatre tech. Those guys deal with lighting, sound, costumes, and set design. He, however, could easily find himself on stage or in front of the camera.

I had a couple who just tried more expressions than I have seen out of one person.

Coco Holt [NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4, (35mm = 85)]

To be a professional actor/actress, you have to be able to do more than just one expression: the more you can do, the more opportunities for different roles.

Coco Holt [NIKON Z 6, 85.0 mm f/1.8, Mode = Manual, ISO 50, 1/125, ƒ/4, (35mm = 85)]

Now my clients are promoting me since I started doing this

No Longer Just Pictures

I have been reflecting on the work I am doing, what I used to do and what I think I will be doing in the years ahead.

If I had the same skills ten years ago today, I wouldn’t be a photographer now. In 2002 I bought my first digital camera, the Nikon D100. I was able to make the digital switch relatively easily.

In 2002 most of my work was shooting still images. I was shooting a great deal for colleges and publications covering sports. I was covering the games, shooting portraits, and helping shoot the team photos used for promotions. Many of these photos were used in the media guides for promoting ticket sales, and some of the pictures even made it to the sides of buses.

Today, there is mainly hobbyist who trade out giving the photos for free to those organizations for the opportunity to be on the sidelines. Some of their work is quite good. However, I could no longer get the clients to pay me when they got the photos for free.

In the fall of 2005, I did coverage in West Africa. When I returned, I worked on my first Slide Show using the software SoundSlides. They now have a newer version that no longer uses flash. I haven’t tried it, but this may be a good solution for those just wanting to combine still images with a sound file.

While I just put the images to African Music I had recorded, it was a turning point for me. Now I am shooting video and combining it with still images and audio to create multimedia packages. Now I am using Final Cut Pro X or Adobe Premiere Pro CC.

Most of my work today is as an executive producer who shoots, edits, and then gives this to clients to post on the web. Many of these packages are 2 to 3 minutes in length. I did one on my daughter’s mission trip to Chattanooga this summer.

Many of the packages I have done are for “Best Practices” of people in a company to share internally. The stories have helped spread good ideas.

Looking into the future has been very difficult to speculate. If cameras continue to change as they have these past ten years, I can expect to upgrade a camera every two years.

My computer will need to be replaced every three years to keep up with the software and the camera files. My first computer’s hard drive was 20 MB. That would not even hold one of the photos I shoot on my Nikon D5 or Nikon Z6 today.

I will most likely still be telling stories in ten years, but how I tell them will change in some way. I will still use visuals and audio to communicate, but who knows. Maybe we will be able to capture the smell and play it for audiences in the future.

If the past indicates the future, I know I must stay informed of changes. I need to read all I can to keep current. I need to be involved in professional organizations. Most of all, I will need to remain curious and ask myself “What if” questions.

Don’t be like many of my friends who didn’t like to change and are out of work today.

My thoughts on Photographing Sports

Duke’s running back (21) and Mataeo Durant fumble the ball due to the defensive pressure of Alabama’s defensive back (22) and Jalyn Armour-Davis during the Chick-fil-A Kickoff on Saturday, August 31st at Mercedes Benz Stadium in Atlanta, Ga. [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 25600, 1/4000, ƒ/5.6, (35mm = 600)]

The ultimate sports photo for me is when there is a conflict between players fighting for the ball, and I have captured the emotions of the moment shown in their facial expressions and body language.

Chick-fil-A Kickoff Duke 3 vs Alabama 42 Final Score, August 31, 2019 [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 25600, 1/4000, ƒ/5.6, (35mm = 460)]

Getting to the game early helps me to scout the best spots to shoot from. I prefer shooting from the endzone for football because that is where the offense is trying to go.

[NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 22800, 1/4000, ƒ/5.6, (35mm = 600)]

When you are not shooting the offense from the endzone, you can see the faces of the defense.

Alabama wide receiver Jerry Jeudy (4) breaks up an interception attempt by Duke cornerback Josh Blackwell (31) in the Chick-fil-A Kickoff Game at Mercedes Benz Stadium in Atlanta, Ga., on Saturday, August 31, 2019. [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 22800, 1/4000, ƒ/5.6, (35mm = 380)]

I grew up watching ABC Wide World Classic “The Agony of Defeat” by the skier Vinko Bogataj. When plans don’t go well, and there is an “Agony of Defeat” moment, it reminds us of how difficult it is to play the sport.

You can see in this series the competition and the emotions in the body language of both players.

Alabama wide receiver Henry Ruggs, III, (11) makes a move on Duke safety Dylan Singleton (16) the Chick-fil-A Kickoff Game at Mercedes Benz Stadium in Atlanta, Ga., on Saturday August 31, 2019. [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 22800, 1/4000, ƒ/5.6, (35mm = 600)]

Getting these moments takes high-end professional gear. It would help if you had a camera that could focus quickly and shoot enough frames, so you don’t miss the action.

[NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 22800, 1/4000, ƒ/5.6, (35mm = 600)]

While following the quarterback, you quickly transition downfield to the receiver. My Nikon D5 screams speed. From the focus to the frame rate to the way you can scrub through images on the rear LCD. With your eye to the viewfinder, a light press of the shutter release see’s the camera unleash its almost endless volley of image-capturing prowess. A minimal viewfinder blackout time makes it easier to see the action and follow your subject.

Alabama wide receiver (17) Jaylen Waddle is forced out of bounds by Duke linebacker (49) Koby Quansah. [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 20000, 1/4000, ƒ/5.6, (35mm = 600)]
David Cutcliffe, Duke’s head football coach, talks with Nick Saban, Alabama’s head football coach, before the Chick-fil-A Kickoff Game. [NIKON Z 6, 24.0-105.0 mm f/4.0, Mode = Aperture Priority, ISO 640, 1/320, ƒ/4, (35mm = 58)]

By arriving early, I could get onto the field before the kickoff and capture a light moment between the two head coaches for Duke and Alabama. For this moment, I went with my Nikon Z6 mirrorless camera. Other than for fast action sports, I love this camera. Seeing the image before you click the shutter is just incredible.

You can see if the exposure is correct. You can see the white balance. You can see the Depth-of-Field. You can see if you are in focus.

The mirrorless Nikon Z6 lets you see the photo before you shoot, except for the split-second you capture. The Nikon D5 doesn’t give you this ability through the viewfinder. You could do this in live view, but not as easy to see.

This is CJ Byrd and Mohamed Massaquoi before the game. They were roommates at the University of Georgia and played football together. [NIKON Z 6, 24.0-105.0 mm f/4.0, Mode = Aperture Priority, ISO 640, 1/160, ƒ/4, (35mm = 28)]

There is so much more than the plays on the field, making this a community event. The bands, the celebrities, and much more, but you must look for them.

Duke Band during the pregame show [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 18000, 1/4000, ƒ/5.6, (35mm = 600)]
Alabama’s Color guard performs choreographed dances and routines with various equipment to enhance and interpret the music of the marching band show. [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 25600, 1/4000, ƒ/5.6, (35mm = 340)]

Bands, Cheerleaders, and Color Guards help bring fans to their feet.

Duke takes the field [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 36000, 1/4000, ƒ/5.6, (35mm = 260)]

Just coming onto the field today with a football team is a spectacle.

Nick Saban wears the leather helmet after winning the Chick-fil-A Kickoff over Duke 42 – 3. [NIKON D5, 28.0-300.0 mm f/3.5-5.6, Mode = Shutter Priority, ISO 5000, 1/800, ƒ/5.6, (35mm = 150)]

To keep objectivity in sports media, a photographer cannot cheer for teams while doing their jobs. This is different if you are the team photographer because you are not reporting as the media.

Alabama quarterback Tua Tagovailoa (13) passes against Duke in the Chick-fil-A Kickoff Game at Mercedes Benz Stadium in Atlanta, Ga., on Saturday, August 31, 2019. [NIKON D5, 120.0-300.0 mm f/2.8, Mode = Aperture Priority, ISO 22800, 1/4000, ƒ/5.6, (35mm = 460)]

Camera Setting Tips for better photos

I taught These photo tips to staff camp photographers for WinShape Camps located in Rome, Georgia.
Here are some camera settings that we all made on the cameras.
Nikon D5 Auto ISO setiup

·  Quality of Image. We set the camera to the most extensive JPEG file at the highest quality. (The camp did not provide the software for all the computers to use RAW)

·  Auto ISO on a NikonAuto ISO. We all set our cameras to Auto ISO and our lowest ISO on the camera default preferences of 50 to 200 ISO. We then set the highest ISO on the camera that is realistically capable of shooting. For most of the cameras, this was between ISO 1600 and 6400. Both Canon and Nikon allow you to set your highest shutter speed. We set this according to the situation.

·  Shutter speeds (Using auto ISO): The camera will raise the ISO to get the optimum shutter speed and drop it once it hits the maximum ISO.

  • If shooting under fluorescent or sodium vapor lights, we recommended shooting at 1/100 shutter speed unless they had to shoot sports.
  • For shooting sports, we recommended setting a 1/2000 shutter speed
  • For general shooting, we recommended a 1/250 shutter speed

·  White Balance

  • We recommended getting a custom White Balance as the primary choice
  • Our second choice was to use a preset like Fluorescent, Daylight, or tungsten, for example
  • When we were changing lighting that affects white balance, we often recommended using Auto White Balance

·  Aperture

  • For general shooting, we recommended not shooting wide open but using f/4 or f/5.6 so that your subject is in focus.
  • When your subject can cooperate more with you, we recommend shooting wide apertures if you choose for artistic reasons. This is when f/1.4 is more appropriate. We have found the trend of too many shooters buying 50mm f/1.4 lenses, shooting wide open all the time, and having very few in-focus photos due to the shallow depth of field.

·  Inside Flash or when dark. Use a higher ISO to help open up the background. Anon, how does using the higher ISO help open the background up? 

·  Flash outside in daylight. When it is the middle of the day, and the sun is straight up, you will most likely get dark circles around your eyes. I call this the raccoon eye look. If you are less than 10 feet from the subject, you can use your built-in flash or hot shoe flash to fill those shadows. In addition to filling in the shadows, you will get a nice catch light in the eyes. You can also use the flash when you backlight a subject. (I wrote about this in an earlier blog post here)  This helps them from looking directly into the sun and squinting. Since the shadow side of the face is now towards the camera, a flash can help balance the light.

Camp staff photographers are discussing ideas they will do with the campers in a couple of weeks. [NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 2000, 1/100, ƒ/5, (35mm = 28)]

Some camp photographers are photography students or recent graduates of photography programs, but not all are photography majors. Due to the range of talent, we showed them a place to help them get more photos in focus that are correctly exposed and have good skin tones.

Staff play some games with each other after dinner. [NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 200, 1/500, ƒ/5.3, (35mm = 112)]

After practicing with these settings, we covered the three composition stages. I will refer you to my earlier blog about what we covered.   

The last thing we did during our time was go out and practice shooting, looking for photos that tell a story. Then, we reviewed everyone’s best five pictures for our last hour together.

The staff of one of the boy’s camps shows the camp cheer they will teach the campers. [NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 200, 1/400, ƒ/5.3, (35mm = 112)]

Call me if you would like me to come to your organization and do this workshop. I am doing this same workshop for the Boy Scout troop that meets at my church in a few weeks. We will do the class time and meet four weeks after they shoot a photo story.

The cool thing about WinShape camps is the emphasis on relationships. As you can see, the staff enjoy each other, which spills over to the campers. [NIKON D4, 28.0-300.0 mm f/3.5-5.6, Mode = Aperture Priority, ISO 4500, 1/500, ƒ/5, (35mm = 28)]

The KISS Rule

Portrait Tip

Do you like taking photos of your family and friends? Here is an easy way to get perfect portraits of them. This is keeping it simple.

[NIKON D4, 85.0 mm f/1.4, Mode = Aperture Priority, ISO 200, 1/8000, ƒ/1.4, (35mm = 85)]

The key to any good photo is the old KISS rule: Keep ISimple Stupid.

For this portrait of my dad, I chose to shoot this outside and use some of the sunny weather we had down at the beach.  We hit this outside on the balcony of our cottage. The reason for the location was it was the fewest steps I needed to make to get a good photo.

Start with the sun backlighting the subject.

One of the reasons I always start with the sun on the back of the subject and not where it is lighting their face has to do with expression. I find it almost impossible to get a good word when people are squinting and straining because the sun is directly in their eyes.

The benefit of the backlighting of the subject is you get an excellent rim light around the subject, which will help you separate the subject from the background.

Look for a darker background

I like to find a simple background that does not have blown-out highlights in the background. I usually look for a much darker background than I chose here. My point is to be careful, or your blinking highlights will be in the background and distracting rather than complementary to the subject.

Choose a shallow depth-of-field

I am using my favorite portrait lens for this photo, my Nikkor 85mm ƒ/1.4.  It would help if you were sure that the eyes are what you are focusing on and the sharpest point in the photo when shooting with this lens. I still recommend having the eyes the place you concentrate, even if you choose to shoot this at ƒ/22.

In general, the background and surroundings are not that important if you are doing a portrait of a person and not an environmental portrait.  Since this is the case for this photo, I threw that background out of focus by shooting at an aperture of ƒ/1.4.

Fill Flash

I love to use an off-camera flash as my fill/main light outside for portraits. Here is a diagram showing you where the sun was and this photograph’s off-camera Nikon SB-900 Speedlight placement.

You can trigger the off-camera flash in many different ways. I often use the Nikon SU-800, which uses infrared to activate the off-camera flash. I chose to use the PocketWizard Mini TT1 on the camera with the AC3, which lets me alter the flash’s power from the camera, not the flash.  It saves you a lot of steps back and forth for tweaking those fine adjustments.

The Nikon SB-900 has the PocketWizard FlexTT5 to receive the signal and talk to the camera’s TTL system to give you consistent exposures.

photo2

I placed the light 45º to the camera’s right and not quite 45º above the eyes.  I am a little lower since my subject has deep-set eyes. 

What is the benefit of the flash say over a reflector? If I used the reflector, I would be bouncing the sun into their face and often getting the squint I was trying to avoid.

Second, by using the flash, I get good skin tones because the color temperature will give it that “pop” I like to see.

Third, I like seeing a catch light in the eyes; the flash helps me be sure one is there. I think this helps bring the eyes to life.

Go and try this setup yourself. Adjust it to your conditions and the subject and see what you come up with.

What do you want to read about?

I would love for you to write to me ([email protected]) and let me know what you would like me to cover in a blog or e-newsletter. Maybe if I don’t know, I can find a guest blogger to help me on that subject.

I love to hear from you, so please drop me a note.

How to Meet the Priority of Your Boss/Client

When someone asks you for $40, you don’t tell them OK if you only have $20. You tell them you have $20 if you want to share. So why can’t you tell them when your boss/client asks for something you can’t do?

A little secret – You can learn to say yes, and the boss/client then can say no.

Learn To Say YES.

Improvisation rules are also great for client support. Just look at Tina Fey’s Four Rules of Improv:

  • Rule 1: Say Yes. The first rule of improvisation is to AGREE. …
  • Rule 2: Say Yes AND. The second rule of improv is not only to say yes, but YES, AND. …
  • Rule 3: Make Statements. The following government is MAKE STATEMENTS. …
  • Rule 4: There Are No Mistakes.

When your client says this is their priority – AGREE. Then you should respond with YES, AND to meet your priority, I need …

Just like improvisation, you don’t want to come back with many questions but statements that help clarify the scene.

I love Rule 4 that there are no mistakes. That is because you are trying to meet your client’s needs.

I also learned about another way to say yes from my friend Tony Messano, a creative director and voice-over talent. This tip had a significant impact on my life in many ways.

Tony was not advocating becoming a “Yes Man” where you agree to “anything” regardless of how crazy or stupid – and sometimes illegal – it is. You still will say no to things that you ethically disagree with doing.

Tony advocated that we turn ourselves into problem solvers for our clients and bosses rather than becoming a problem.

The way this whole topic came up in the first place with Tony was over me trying to deal with clients that kept on saying since you are here, can you do _______. Tony helped me see how to take this request and not only meet the demand but also make more money.

Roswell High School Theater Short Attention Span Theater [X-E2, XF55-200mmF3.5-4.8 R LM OIS, Mode = Aperture Priority, ISO 1600, 1/100, ƒ/4.5, (35mm = 96)]

I learned how to price for the project, and then when this type of request came up, I could say “Yes.” Yes, I can make that happen; however, since this wasn’t part of the proposal and is outside the scope of it, I need to charge XYZ for the additional work.

I had been handling these requests or similar variations for my whole life up to then responded with a “NO.”

What Tony helped me understand was that when I was saying no, I wasn’t helping the client at all. If they still needed it done, they would find someone who could make it happen, and often then, I would usually no longer be used for future projects.

When I was in a staff job, I often said no because I didn’t have time with all the other things on my plate. As a freelancer, I was saying no because they were asking for more without offering more pay.

Had I learned this tip earlier in my career, I would have become a more valuable team member when someone would ask me to do something; I would now be saying how I want to help them. I would be saying YES–IF.

Yes, I can make that happen for you if you tell me which of these other projects I can delay or not do to be able to take on this extra work.

As a freelancer, I am saying YES–IF you decide what on the list we were shooting comes off because I don’t have time to do all you have, or I might be saying yes if you agree to the extra XYZ cost.

[NIKON D5, 85.0 mm f/1.8, Mode = Aperture Priority, ISO 3600, 1/100, ƒ/1.8, (35mm = 85)]

Ask your boss/client what their priority is. By the way, I recently learned that modern society corrupted the word stress. One hundred years ago, there was no plural form: importance was singular only — it meant the most critical item.

When everything is a priority, nothing is a priority. In a recent innovation workshop with HR executives, one team won an award for developing a simple tool to prioritize incoming requests by filtering them by business need, the source of the request, and the anticipated effort involved. We must ensure that the top priorities take precedence.

What separates a priority from just another task on the to-do list?

Focus on client projects before internal work; setting up the new CEO’s computer before re-configuring the database; answering support tickets before writing training materials; and so on. Another way to assess value is to look at how many people are impacted by your work. The more people involved or moved, the higher the stakes.

You probably can’t get to everything on your list. After you prioritize your tasks and look at your estimates, cut the remaining jobs from your list, and focus on the priorities you know you must and can complete for the day.

Collaborate

[NIKON D4, 14.0-24.0 mm f/2.8, Mode = Manual, ISO 200, 1/160, ƒ/2.8, (35mm = 14)]

The difference between two parties who compromise or collaborate is enormous. 

They are compromising leads to disappointment for all parties.  When the parties come together, they have a creative idea or solution for a problem.  Each party wants their concept out there more than the other one.  In this scenario, a watered-down version of both ideas emerges. In the end, no one is satisfied with the solution.

[NIKON D3, AF Zoom-Nikkor 24-120mm f/3.5-5.6D IF, Mode = Manual, ISO 100, 1/200, ƒ/18, (35mm = 98)]

Collaboration isn’t about negotiating solutions.  It starts when the parties come together and listen to each other.  They are open to new ideas.  This is where everyone realizes that alone no one gets their ideas implemented, but they can accomplish their goals by partnering with others.

Rowing is a good illustration of how to collaborate.  It is the oldest intercollegiate sport in the United States.  

The Harvard-Yale Boat Race or Harvard-Yale Regatta is an annual rowing race between Yale and Harvard universities. It is America’s oldest collegiate athletic competition. Each year on the Thames River, New London, Connecticut.

In this sport, the team must work together.  Each person has to stay in sync with their teammates.  For me, it is the perfect picture of collaboration. 

If just one person is out of sync, the team suffers.

When a client hires me, they expect collaboration and not compromise.  Trust is the foundation of this process. It would help if you first trusted your clients, lowered your barriers, and were exposed.

Listen.  Take notes while listening to the client.  Note-taking prevents you from responding quickly to your ideas.  Active listening means you ask questions to clarify and be sure you have their perspective.  You may want to paraphrase their idea and ask if you have it right.

The key is understanding what they want to accomplish.  You must also listen and learn where they have little room for flexibility.  When the client feels you know what they want and the parameters they are under, you have the necessary information to collaborate. 

Meeting and exceeding the client’s expectations is easy if you listen and check with the client to be sure you understand their project. 

Many clients will have done an excellent job articulating their project from the very beginning.  It would help if you still explored with them to understand how much flexibility they have.  It would help if you still told them their assignment in your own words. Skip this step, and you will experience friction with the client.

All things being equal, people want to do business with their friends.  True friends collaborate rather than compromise.

My friend Tony Messano talks about what he looks for when he hires a photographer in this video clip.  Here is his website http://www.tonymessano.com/ad/