I was asked what my settings were for the Nikon D750. Here are most of those settings, but I want to be sure you know that these are not what I use every time. I do modify these based on situations.
However, this is how I generally leave the camera set.
Aperture Priority
Slow Flash Sync
Auto Focus – Single
Auto Focus – Auto set to find faces
White Balance A1
RAW
Matrix Metering
Auto ISO
Lowest ISO 100
Highest ISO 12800
Shutter Speed 1/500
I am post-processing all images through Adobe Lightroom 5.7.
The first thing I am changing on these settings is White Balance. I will Custom White balance most of the time using the ExpoDisc.
The second thing I am changing is the Auto Focus. Again, I will choose a single point using the 51 pts to move the tiny box around the viewfinder where I put it most of the time on the subject’s eyes.
Fuji X-E2, FUJINON XF 55-200mm, ISO 6400, ƒ/8, 1/320
Just a dash of red in this otherwise very monochromatic photo gives it the pop necessary to grab your attention.
Notice how the same black & white photo doesn’t have the same POP as the color photo.
Fuji X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/8, 1/320
Red is one of the colors that draw the most attention in a scene. Stop signs are red for this reason, like on this school bus–your eye will see it in a location. Also, this is why the lights are red on the bus. Same as the tail lights of a car. You want them to be red when you hit the brakes so that those following will be alerted.
The lesson is simple when there is just a splash of red in the photo, you will draw your eye to that area of the photograph. If you don’t want that to happen, don’t include it in the image.
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 5000, ƒ/5, 1/250
I have been looking through my photos from the Southwestern Photojournalism Conference shot on my Nikon D750. I was shocked at the quality of the images.
The EXPEED 4 Image-Processing Engine and 24.3 MP FX-format CMOS sensor are a significant jump over my Nikon D4.
Years ago, when ADOBE improved the main processing software engine for PhotoShop, you could go back to older files and get better results due to the software improvements.
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/8, 1/40
I think this happened with the new Nikon processor and sensor. While at first, I thought the images were sharper and cleaner due to the 24 MP versus the 16 MP, I think it has more to do with the chip quality for dynamic range and the new processor combination.
The pixel distance from each other is at a pitch of 7.3 microns on the Nikon D4 and 5.97 microns on the Nikon D750. This spacing improves clarity and definition. Rich and smooth tonal gradations. Dramatic character and texture.
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 8000, ƒ/5.6, 1/30
Size Matters
It is essential to look at the photos in size you would be using–not zoomed in to 1:1.
So when I compare the images as I will most likely use them, there is an important notice of quality with the Nikon D750. When you go to 1:1, there is still an advantage.
I recommend looking at images of the sizes you usually use for comparison. For example, zooming into a 1:1 will have you cropped tight, comparing a 24 MP to a 16 MP.
If you are comparing Nikon cameras, unless you need 11 fps or 36 MP, buy the Nikon D750.
When populations of deer get too great, they can start to destroy the land due to the lack of resources. There are Wildlife Management Programs around the country to control the population of deer.
Without management, you can overharvest, and it will take a long time for the population to recover; if you harvest, crop damage and deer-vehicle accidents may increase.
This process is the herd’s culling, or herd thinning.
There have been natural disasters that have helped nature to correct itself without any culling.
Humans used to have a more natural culling of our population. If you did something stupid on your bike when I grew up, then you didn’t survive. Today helmets are keeping more of us around. Some could argue that the lack of helmets helped us thin the herd.
Weld Founder Austin Mann says, “Many people call photography a profession and moving away from a 9-to-5 job.” Yet, the other day on Facebook, an advertising headline read, “Understand your camera in 10 minutes.”
Today the market is flooded with photographers, and since we do not cull the population [some may wish they could], nature has its way of natural selection or the survival of the fittest in today’s marketplace.
There is a limit to the jobs for photographers. Many will have to move on to pay their bills from a lack of work.
It is said in sailing the pessimist complains about the wind. The optimist expects it to change. The leader adjusts the sails. – John Maxwell
I played trumpet for many years and even through college. I was pretty good and enjoyed playing. However, I did not have what it took to become a professional musician. I did not enjoy practicing for hours each day.
When I discovered photography, things changed. I was spending an unusual amount of time shooting or in a darkroom. I would lose track of time. I never remember losing track of time playing my trumpet.
If you lose your sense of time with photography, you might survive. But, first, you must love the work. Losing yourself to photography lets, you know this is not just fun but your passion.
Jay Maisel, Bernie Boston, Hugh Morton, and George Tames. Our famous photographers in my book. I took this photo at the Southern Short Course in the 1980s.
Jay Maisel tells his students to “always carry your camera.” He goes on to tell them he can tell who will not make it—those not carrying their cameras all the time.
“In this world, you’re growing or dying, so get in motion and grow,” said Lou Holtz.
Time to assess
Where are you now, and where do you want to go? How are you going to get from here to there?
I know many photographers who wanted to go from no video skills to adding these to their skill set. Hey, I took the NPPA Multimedia Immersion Workshop. I invite you to join me in Romania this summer for a Multimedia Immersion Workshop. Here is the link to the Storytellers Abroad Workshop.
I will be glad to help you see the way from here to there if this is the path you want to choose.
I believe that a passion for photography is better than having a passion for the story. For example, Eugene Richards went from a social worker to a social activist and finally realized that photojournalism was the most powerful way to help people.
Discover your passion, and it will help give you the answers to the big questions. Why go there? A D Why not stay here?
You may also discover that you don’t have a passion for this, which is a good discovery. J st move on to your love, and you will be successful–if you nurture it.
These are the students’ assignment results, where they were to create a 1:3 lighting ratio on the subjects. They could add a background color or just white. They could also have fun, but they had to demonstrate the 1:3 lighting setup.
Assignment Description: 1:3 lighting ratio. This photo uses classic lighting.
Items:
Softbox This light is your leading light. Get a light reading with just this first. The light should be 45 degrees off the axis of the camera and 45 degrees above the subject’s eyes.
Subject Your subject should have the main light lighting only part of the face, and the shadows should be just a little to show the 1:3 ratio.
White backdrop Keep the subject a few feet from the background, and do not use more lights to light it.
(D)SLR Choose the lowest ISO. Use a portrait lens of 50mm if you don’t have a full-frame camera can work. No more than 100mm.
Octobox The Octobox is your fill light; get just a reading of this 2nd. Be sure it is 1/2 the power (1 f/stop less) than the leading light. After this is done, get a 3rd light reading of both lights, which will be the setting for the camera. It can be level with the eyes, but you may have to move up with glasses to avoid glare.
I was tired of working at my computer when helping a friend who asked me to help fix their jump drive. It needed to be formatted.
Well, it just wasn’t working at first. After a few tries, I finally formatted it, and since I was used to just clicking the drive and clicking go in a moment, I accidentally formatted my external hard drive instead.
Panic struck as I realized what I had done and what I potentially had lost. The only good news was I had just put this new 2TB hard drive into service a few weeks ago.
The worst-case scenario was I lost images I had not posted to my cloud servers, which were all the camera RAW files. Once I finish running them through Lightroom, I post JPEGs and keep the RAW files in several places.
Everything was gone, and I hadn’t had a chance to create a backup on some of the files.
Frantically I tried to use my PhotoRescue software, but due to the newer Mac 10.10.1 operating system, it wouldn’t work.
I then found Data Rescue 4. I had to run a deep scan, and it took 24+ hours to scan the 2 TB hard drive. I recovered 95%+ of the hard drive. The only thing is the folder and organization weren’t as I hoped, but all the RAW files and JPEGs were there.
Couple of points that you need to know to recover the most. First, if you make a similar mistake, I make the stop and immediately do not use the hard drive until you have recovered your files. Second, formatting is terrible, but shooting more images and writing those to the hard drive is even worse.
On the Mac, open system preferences and then click on Energy Saver.
Change the Computer Sleep to never when running the program. Could you put it back when you are done? I made the mistake of not doing this, so when I set it to run overnight, after about 15 minutes, the computer stopped running and went to sleep.
While I would love to say the moral of the story is never to do this, there are times you too may be so tired and not thinking straight and make a mistake as bad as I just did. However, there are solutions, and this is one that worked for me.
Using jargon and acronyms from your industry with someone not familiar with that jargon will alienate rather than alleviate, creating a barrier bigger and harder to fix.
Word Choice
I grew up in a Southern Baptist Bubble. I used words in our bubble that were well understood when we said them. Here are some of those words:
Sin
Sanctification
Existentialism
Inerrancy
Predestination
In the circles I grew up in, I knew people that could quote scripture every other sentence, and they did!
I always wondered whether everyone around me understood what they were saying or just dropped words to sound impressive. Today, most of them were trying to impress more than truly understanding.
Today I find when someone starts down this road of a club language to be very divisive and offensive to me.
Nikon D4, 28-300mm, ISO 2000, ƒ/8, 1/500
I think this is the reason so many nondenominational churches are growing. They tend to use the more familiar language of the marketplace versus a club language.
I was working with an NGO which happens to be run by Christians, but they want to get non-Christians involved in their social justice projects like digging wells around the world.
They asked for my feedback on a 3-minute video. Twenty seconds into the video, the subject talked about why they were involved with the organization. Then, they dropped the first club language word, “Kingdom of God.”
Immediately I could feel my body wanting to get up and leave. But unfortunately, the NGOs were unaware that the words alone were creating a barrier and doing just the opposite of what they hoped to accomplish.
Tips
First, learning to evaluate your language to see if what you are saying with words is connecting with your audience is tricky and requires practice. You need the help of trustworthy friends who will be frank with you. It would help if you had them hear or read your jargon and give you some feedback.
Now, if your friend grew up in the same bubble as you, the odds of them helping are less likely. The best feedback is from someone in the audience you want to reach that culturally would not be aware of all your language jargon.
Second, this might sound like it goes first, but in reality, as you are confronted with what you are trying to say with this word and being forced to use other words, you will realize you might not know your true intentions in your thoughts. So often, we say things that make people feel comfortable. However, if you are trying to elicit a response and not just put people at ease, you may have to think about your message.
Third, you need to realize also that even if you use all the correct words, things like psychological and emotional barriers might exist with the audience. They may prematurely judge your words and interpret something you are not saying before you finish your thoughts. The audience may not be paying attention and be distracted by something else in their life. They may distrust you, and anything you say isn’t heard.
There are just many more reasons than your words that communication breaks down. You should, however, make it your goal to word your conversations so that the audience understands them and opens up to hear your messages. So practice your messaging with a trusted friend, so your language helps you communicate more effectively.
Enjoying a picnic overlooking a scenic vista is the same reason I am stopping to take a photo. The picnickers are enjoying the moment.
Nikon D4, 14-24mm, ISO 180, ƒ/14, 1/250
Here my friends Lily and her husband Philip enjoy looking for whales migrating off the coast of The Big Island.
Now driving down the road and just looking out the window might be closer to the video, but stopping and pausing is how a still image allows people to savor the moment visually.
Nikon D4, 14-24mm, ISO 720, ƒ/22, 1/250
Driving north from Kailua-Kona, we stopped at Hawi Renewable Development Wind Farm. Lily’s hair is getting the wind treatment just like the windmills.
I am making notes in my head about locations like this one. I am noticing how the light affects the scene for this time of day. What if I could come back at sunrise or even sunset? Would that improve the stage to have more visual impact?
In other words, is there a better time of day to hit the visual pause button to stop and enjoy the scene more than this moment?
Nikon D4, 28-300mm, ISO 110, ƒ/6.3, 1/250
Every morning here, I wake up to this scene. I walk past it on my way to breakfast. It is so peaceful; this is why I wanted to capture this and hold this memory forever.
Nikon D4, 28-300mm, ISO 250, ƒ/8, 1/250
I enjoy watching tourists as they experience new locations.
Nikon D4, 28-300mm, ISO 560, ƒ/8, 1/250
I encourage you to be like a tourist sometimes in your hometown. Those things you walk by every day can be things that, just as you pause to enjoy, will make others appreciate it just as much.
Is the photo better when I show the people on the stairs better to give a perspective, or is this closer shot better?
Sometimes we need to spend more time absorbing our surroundings to pause our bodies to allow us time to feel peace and examine why this brings so much joy to our lives.
We cannot expect a photo from a moving car to compare to the one where you stopped. But, acting like the friends having a picnic stays long enough to allow the scene to permeate you. It takes time to decide the best lens, angle, and composition to capture something that genuinely moves not just you but others.
Every once in a while, I injured my lower back. Years ago, I bought an inversion table similar to the one you see here.
Five minutes in the morning and five minutes in the evening hanging about like this angle you see here the lady doing is as far as I need to go.
You adjust the strap you see there, which would be tight to stop you from going perpendicular.
I went to a client’s office the other day with this lighting kit, plus a few other bags, and had to carry it upstairs and back down. In the process, my back went out slightly enough to be in pain.
After getting home, I went to the basement and got on the inversion table.
SURPRISE!!
Suddenly, the strap broke, and I went perpendicular with a jolt. Not a fun thing when you like to ease into this with a sore lower back.
Without that strap and being completely upside down with a sore back, it was impossible for me to write me. But, lucky for me, I had my phone on me.
The first call is to my wife, who is upstairs–NO ANSWER. She had her phone on vibrate and in her purse, so she didn’t hear my calls for help.
The second call was from my daughter, and I got her. She came down as my wife followed, and they pulled on their feet, and I could get out.
Who Ya Gonna Call?
Every photographer will have a time when their safety straps [metaphor] will break. You will catch yourself upside down and unable to do it alone.
Who will you call? I didn’t get married and have a daughter, so one day when my strap gave way on my inversion table, I could call them and needed saving. I got married because I fell in love with my best friend. We had a daughter and love raising her. Sometimes I think she is growing us.
I joined NPPA, ASMP, CIP, Sports Shooter, and other organizations through the years for the same reason I started dating–I enjoyed the community and getting to know people with similar interests, and we could do life together.
Through the years, my strap broke in some way in photography. So I reach out to my friends and get their advice and help.
Who’s your backup? Like I called my number one go-to in life–my wife, she wasn’t available. So I had to call my daughter. Time was the essence in the situation, with me being upside down.
If something were to happen to you, do you have a community to reach out to that is nearby and can help?
By the way, the best thing I have participated in through the years has been the Southwestern Photojournalism Conference, which is just a month away. So go and check it out and come if you can. Here is that link again for you http://www.swpjc.org.
Fujifilm X-E2. Fujinon XF 55-200mm, ISO 400, ƒ/4.8, 1/750
Our family has been waiting to be able to come to Orlando, Florida, to take in The Wizarding World of Harry Potter–Diagon Alley at Universal Studios.
J. K. Rowling is the writer of the Harry Potter literary series, which the books have gained worldwide attention, won multiple awards, and sold more than 400 million copies. They have become the best-selling book series in history.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 1250, ƒ/8, 1/500
While being the most prolific writer ever, her books were transformed into a series of films that became the highest-grossing film series in history.
One of her virtual gifts is her ability to create an entirely visual fantasy world. The movies captured much of those elements, and Universal Studios Theme Park allowed her fans to enter her world through the Harry Potter World.
Rowling consulted on the details for the theme park. There are many details that those who have read the books will appreciate because some of those elements were not in the movies.
Seeing Visually
It is a photographer’s paradise for seeing visual cues that cross over cultures and currently unite more than 65 languages.
Tips while visiting Universal Studios
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 1250, ƒ/2.8, 1/500
Take photos no matter the time of day, but remember that you might want to redo some of these as I did here of my wife and daughter on Diagon Alley. I just used the on-camera flash to reveal their faces on the street, which otherwise would have been silhouetted. Now you can see the road behind them better than during the daytime.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 500, ƒ/3.2, 1/500
We visited the Nite Bus a couple of times. During the daytime, it is harder to see the shrunken head hanging. However, this is a significant part of this attraction. The director talks to you and even turns its head towards you.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 6400, ƒ/2.8, 1/60
Notice how much more the Nite-Bus looks like you would expect in the book or movie when shot at night. What a concept, but you have to think about this to be sure you don’t miss a better mood shot. Also, notice how the light on the shrunken head helps it be easily seen at night.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 6400, ƒ/3.6, 1/55
Incorporate Available Light
I also chose to stay with available light and not use the pop-up flash. The light behind me from the street lamp was lighting the scene just fine.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 400, ƒ/5, 1/600– -1.7EV
My daughter has fair skin and wanted to be photographed with the theater production cases. To keep detail on her face, I dialed the EV to -1.7EV
Same as above but unretouched
Here are the Lightroom setting I used to take the untouched RAW file and turn it into the JPEG:
However, the more straightforward and pleasing photo moved my daughter out of the direct sunlight to the other side.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 800, ƒ/5, 1/500
This, too, has been retouched in Adobe Lightroom with these settings:
Also, I dodged her face just a little +0.61:
Street Photography Style Using Minimal Gear
I am trying to do all this like a street photographer and not carrying extra off-camera strobes through the theme park on our family vacation.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 6400, ƒ/5.6, 1/10
One thing I love about the Fujifilm X-E2 is taking photos at slow shutter speeds. The image stabilization works well.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 6400, ƒ/3.2, 1/200
I think capturing photos of the family at the different attractions is essential. It will be a memory jogger as we age, look at these photos, and remember the fun times we had as a family.
Fujifilm X-E2, Fujinon XF 55-200mm, ISO 6400, ƒ/4.8, 1/340
Second Lens Gives More Variety
Honestly, I think the Fujinon 18-55mm kit lens will suffice most of the time, but here I wanted to capture the puppeteer, so I needed more than the 55mm. I used the Fujinon XF 55-200mm, which I had in a coat pocket, to take this photo and the first photo of the sunset.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 6400, ƒ/3.2, 1/13–Shot at -1.7EV
I could have just shot details around the park. I loved how they created a dark part of Diagon Alley. I felt like I was in the book walking with Harry Potter.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 6400, ƒ/2.8, 1/10
I just hung outside the shop Borgin Burkes while my wife and daughter shopped. I then captured the moment my daughter came out to look for me. This is better than all the posed photos, but I still take those and compliment them with pictures like this one.
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 1600, ƒ/4.5, 1/500Fujifilm X-E2, Fujinon XF 18-55mm, ISO 3200, ƒ/4.5, 1/500
My Fujifilm X-E2 settings for while at Universal Studios
ISO–AUTO
200–6400
1/500 shutter-speed
Auto Focus
Single
AF MODE [AREA]
Face Detection ON
WB-AUTO
RAW+N – This was so that I could link to my phone using the Camera Remote APP and upload photos as I shot them to Facebook for my friends. It would help if you had a JPEG to do this.
NR -2
Color STD
H–Tone -1
S–Tone 0
Color 0
Sharp -2
Flash-SLOW
Flash Compensation -1
Fujifilm X-E2, Fujinon XF 18-55mm, ISO 6400, ƒ/2.8, 1/70, -1.3EV
Six Inches Behind The Viewfinder
I hope you figured it out by now, but more than the camera, it is your brain that will determine the success of your photos. There is a lot of thinking going on to get these photos. If you randomly point your camera and expect it to do all the work, you could have bought the cheapest camera and obtained similar results.
The high-end cameras will let you do more, but the key ingredient to their success is your knowledge of how to use the camera.
“The most important thing in photography is the six inches behind the viewfinder.”
“If the photographer is interested in the people in front of his lens, and if he is compassionate, it’s already a lot. The instrument is not the camera but the photographer.” — Eve Arnold
There are many comments by many pro photographers throughout history reminding us that it is the six inches behind the eye that is more important than the six inches in front of it when taking photos.
I wanted to be sure everyone understands that I not only believe this but spend most of my time thinking about what I have done, will do, and am doing compared to the time I think about my camera gear.
If you want to make better pictures, for the most part, you will do better investing in a class to learn something than spending that money on more camera gear.
To take photos, you must have a camera. When you buy your first camera, the odds are excellent that if you pursue this later as a profession, this will not be the last one you buy.
Things to consider when buying a camera
Subject – Audience
These two things drive almost every decision regarding the best camera. You can find the perfect camera to own as long as these stay singular. However, the problem that typically happens is when you have:
Subject(s) – Audience(s)
The Holy Grail Camera that does it all is usually a compromise camera that will let a photographer get the images, but if they had the funds would most likely buy specialty cameras for some subjects or audiences.
Audience(s)
When we think of an audience, there are two things we should focus on that impacts what gear we purchase. First, the people and the channel will see those visuals.
If your client sells high-end vehicles like a Lamborghini, they will be more interested in the finer details than the community seeing a photo of the fire in their local paper or online. Therefore, you will be more likely to see vast prints of your images in dealerships on their walls where the customer could walk up to the print to examine it closely. People can walk up to large photographs when an extreme megapixel camera would be the best choice.
If you are shooting photos that you plan to put in a show in a museum or gallery, then the size of those prints will also demand a higher pixel and will be appreciated.
The need for super size prints is why there are 80 MP camera backs for medium format cameras. You can go even higher with the view cameras.
On the other hand, many bloggers shoot all their photos with their smartphones. Using a smartphone is because the pictures are good enough for their audience, who might absorb most of the content on their smartphone.
Subject(s)
When shooting sports like soccer, you must have a long glass due to the distance between the photographer and the action on the field. A camera like the Nikon 4s shoots 11 frames a second, and lenses like the Nikkor 600mm ƒ/4 is pretty much the standard for a sports action shooter.
Wedding photographers often need to shoot in low light and need a camera with ISO higher than ISO 1600. They also will shoot with a fast glass of ƒ/1.4 to ƒ/2.8 many times during ceremonies. Most wedding photographers must cover 28mm – 200mm for most of their work. However, they occasionally have a few photos using specialty glass to offer something different.
Portrait photographers often shoot with cameras with high megapixels for the same reason the photographer shooting a Lamborghini needs it–large prints.
Street shooters tend to want a small camera that will make them look more like a tourist than professional photographers to be able to blend in and not draw attention to themselves.
Conclusion
If you are one of those people trying to tell everyone why you own the “BEST” camera ever–please know you only show your ignorance when you open your mouth. I see these people on almost every camera forum trying to argue why they know it all, and everyone should listen to them and their wisdom.
If you are shooting one type of subject, then you can easily find out what most photographers covering this subject are using and why they choose those cameras and lenses.
If you are shooting a wide variety of images for many different outlets, you most likely will find a camera that does a pretty good covering the bases. However, many will find they need to rent or buy gear for some of their niches.
Most of all, we need to go back to where I started this blog that the photographer’s knowledge will let them do more with a simple box camera than a $45,000 camera in a novice’s hands.
You may hear that many people say invest in the excellent glass more than the camera–I say invest in yourself more than the gear, and you will be the better for it.
IMHO–most cameras today are so good that almost any camera could work in the right hands.
I returned today to look at Don Rutledge’s coverage in Russia in the 1980s. Don, more than anyone I ever knew, could tap into the audience’s subconscious through symbolism.
I love the photo of one of the pastors in Russia with the kids. What makes the image even more, is the artwork of “The Last Supper” by Leonardo da Vinci on the wall behind them.
I remember sitting with Don as he projected each Kodachrome slide on the wall.
The Berlin Wall was still up at the time, and most Americans’ perceptions of the Russians were not reality. Don wanted to show how much we have in common with the people.
Once the audience can relate to the subject, then the message can come through. You can see how Don starts by first establishing the father’s role as a pastor. Then he shows the part of the mother cooking and taking care of the family, just as many women do here in our country.
I was fascinated by how Don talked about just showing the teenagers’ room. He demonstrated how this would look like many teenagers in the state’s rooms might look.
Here the kids are playing follow the leader. What is important to me was hearing how excited Don was about how similar the families were to Americans. Don’s excitement was genuinely childlike.
