Why travel with other photographers and a pro?

 
Fuji X-E2, 18-55mm, ISO 200, ƒ/9, 20 sec

If you want to be a better tennis player, you play with better players. If you want to grow as a photographer, then surround yourself with other photographers and better photographers.

Fuji X-E2, 18-55mm, ISO 400, ƒ/7.1, 1/640

This past weekend I traveled around The Big Island of Hawaii with 8 of the 16 students in the School of Photography class at Youth With A Mission. We were sightseeing together some of the sights of the Island.

The top photo is of the Volcano National Park during the evening. Here most of us were using tripods. This advantage was that you could see each other’s work and ask what they were doing. Again, this helped people learn how to capture such a problematic situation.

Fuji X-E2, 18-55mm, ISO 400, ƒ/6.4, 1/500

Now when you are on these trips, take the time to find those who are better than you or at least have more experience. Ask them questions and learn what you can.

 
 
Fuji X-E2, 18-55mm, ISO 5000, ƒ/11, 1/500

Karen Walker is one of the students in the workshop I am teaching this week. She would find me and ask great questions. “What are you looking for here?” might be one of the questions Karen would ask. She was just a sponge and sought me out as much as possible.

She then wanted to be sure she wasn’t annoying. So I told her this is why I am here to help teach.

Fuji X-E2, 55-200mm, ISO 200, ƒ/5, 1.1 sec
Fuji X-E2, 18-55mm, ISO 200, ƒ/5.6, 2.3 sec
Fuji X-E2, 18-55mm, ISO 200, ƒ/5.6, 5 sec

What surprised me was how many students never asked me a question about photography. Every year this happens. I come as a visiting guest speaker, but the students often will not take advantage of my presence to grab me and ask questions.

My recommendations:

  • Find a group to do some photography
  • Find a professional to take a class with
  • Ask questions beyond the lecture time
Remember, why take a class in person or buy a video if you don’t ask questions? Take advantage of the instructors and people around you. Ask why they are doing what they are doing. Ask how they are getting the photo. Clarify how they knew to do that. Sometimes they don’t know, and if it was just luck.
 
You learn from being engaged with others.

Winter Storm and Epic Traffic for Metro Atlanta 2014

Winter Storm and Epic Traffic of 2014
[X-E2, XF18-55mmF2.8-4 R LM OIS, Mode = Aperture Priority, ISO 6400, 1/12, ƒ/5.6, (35mm = 27)]

Note: All photos were shot on the Fuji X-E2 and while I was sitting still I would use the Wifi connection and upload these to my Facebook page.

While many people want to judge the south as not knowing how to handle snow, this was not just a snow storm. The main reason for the traffic standing still in the south is the ice.

In the photo above you can see the ice all over this semi-truck and on the road. this is on Georgia 400 around exit 7a.  The truck continued to spin its wheels and slide toward me.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/15

The guy in the red KIA Sportage was spinning his wheels so much that if he did get traction would have rammed the people in front of him.  Most of the cars with front wheel drive and good tires were moving slowly and taking their time. The front wheels had enough weight from the engines to keep traction.

My trip started with excitement.

Fuji X-E2, 18-55mm, ISO 320, ƒ/5, 1/500 TIME 12:51 pm

I was doing some work down at Chick-fil-A’s corporate office. As I went out the door at 12:50 pm I took a photo of their billboard that is on their tour. Many people get up on the platform and get their photo taken with the cows.

Fuji X-E2, 18-55mm, ISO 800, ƒ/5, 1/500 TIME 12:51 pm

Many people also like to have their photo taken with Truett Cathy, the statue that is. If he is at the office he will meet with folks in his office. Well as you can see the cows and Truett had a light dusting of snow.

Fuji X-E2, 18-55mm, ISO 1000, ƒ/5.6, 1/500 TIME 12:54 pm

As soon as I drove out the the parking deck and got on the road I called the office and told them to leave now.  The roads already were slick. I could tell the snow was melting and turning to ice almost instantaneous.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/80 TIME 15:03 pm

This firetruck is going in the opposite direction to get to wrecks.  This was about halfway through my 11 hour commute.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/8 TIME 8:48 pm

I am assuming the sign had some lights burned out, but this should say:

JACKKNIFED TRUCK  

PAST HAYNES BRIDGE 

ALL LANES BLOCKED

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/8 TIME 10:45 pm

This photo here is on Holcomb Bridge Road, Roswell between Old Roswell Road and Warsaw Road at 10:45 pm or less than 1.5 miles from my house. It would take me another hour and half to drive that. When I approached Alpharetta Hwy I knew the road would go down a hill and back up. Knowing this was where most problems would be for vehicles, I turned right and no traffic at all for me to go north to Houze Way and take that road through the back of our neighborhood.

I got home at 12:05 am today. There is now color back in my knuckles from them gripping the steering wheel for 11 hours.  Seeing a semi-truck sliding towards you and you cannot do anything is enough to give someone a cardiac arrest.  Thankfully all those trips to the gym are paying off.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/8, 1/500 TIME 9:10 am

Sitting at home now enjoying my coffee and I can say relaxing as I see this out my front door. There are still many people still on the road stuck until the ice either melts away or DOT clears the roads.

Keep those affected in your prayers until the roads are all cleared.

The use of color is essential to the overall look of a project.

If you want your portfolio to go to a new level, maybe you should pay attention to color pallets [color schemes].

One thing that sets professional work apart from home videos is control of the color scheme. The color scheme is simply the collection of colors in the film or video: the clothes, the backgrounds, the props, the makeup, the locations, etc.

Deciding on a color palette before you shoot and sticking to it in production will work wonders for the production value of your project.

When you dress daily, you coordinate your outfits, or at least I hope you do, so they work together. For example, when you go to the office, you may have a color pallet that is quite different from what you might wear if you go to the town at night to a theater or clubbing.

You are creating a mood around you just by what you wear. Now, if you were in control of more than just your clothes, you could impact people’s attitudes as they come into contact with you. But unfortunately, this is what Hollywood does for the big screen and TV.

Besides using music to create a mood, they use color pallets. For example, watch this clip from Parenthood. See how close I came to picking the color pallet below it for what colors you see in each scene. Pay attention to the floors, walls, outside-the-window colors, and what each actor is wearing, and you will notice every little color is part of a theme.

When Hollywood goes back in time, I noticed they like to use a lot of blue. Take a look at the Lincoln movie trailer. See the colors below and see how close these match.

https://youtu.be/qiSAbAuLhqs

Another TV show that exaggerates the color palette is CSI Miami.

If you want to see a large selection of color pallets like above, go to https://kuler.adobe.com Click on Explore to see all types of themes, and they will even let you sort them from the most popular.

Traveling worldwide, I find specific locations with a more consistent color pallet, as in this photo from West Africa. I guess that when they make many of their clothes, they use the natural colors they can find, whereas, in the US, we import from all over the world, making things more eclectic.

In this scene above, it is like Hollywood coordinated the color pallet, but what is happening in Hollywood knows that they are just duplicating natural settings.

The most significant difference between what Hollywood is doing and what we might find in everyday life is being sure they control where the subject’s eyes go in a scene. For example, if one person walked into a set and was not part of the color pallet and everyone else was, then your eye goes to them immediately.

For example, the purple shirt is so different that your eye goes to that person.

In the photo of the two boys, they are both wearing blue, and the blue is also on the wall and the floor. Then you have the green and a touch of red in the boy’s pants, base, and flowers. So we have three colors in this photo that play off each other. Interior designers try to use three colors when decorating and what Hollywood does to help create a mood.

Sometimes you have to move a step to the right or left to recompose a photograph; that will help simplify the color pallet and make the photo stronger.

A color pallet is why going to the home of a family you plan to do a family portrait of and help pick out all the clothes and location before you show up later to do the shoot. If you do, you are managing the color pallet, which will make for a better photo.

The use of color is essential to the overall look of a project; like most other things, although the viewer may not be discussing the color palette after watching your work, you can rest assured that the color scheme – or lack thereof – most certainly affected their perception of it. For example, in big-budget Hollywood movies, a lot of attention is given to the color of even the finest detail, and with good reason!

Ideas for working with NGOs & Companies using Storytelling

 
 
A friend wrote me, asking, “Were you ever able to make progress on ideas around working for NGOs?” Here are my comments to help him navigate this from what I have learned.
 
Today, it is easier than ever to become a photographer and publish. The gatekeepers are no longer in the way for the most part. So you can go and shoot a story and post it today for the world to see.  
 
Today worldwide travel for us is the easiest it has ever been—minus some visa and security issues. So the ability to go and cover the world is somewhat attainable. More accessible travel is why many today have traveled internationally compared to years ago.
 
 
What is the one thing stopping then most storytellers? The finance side. 

Matthew 6:26 reminds us “Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they?”

The scripture reference doesn’t mean you sit back; you are just like the birds—The early bird gets the worm.
 
NGOs
 
I think I have found that these NGOs tend to be run by people who are now experiencing an all-time high in volunteerism. Volunteers include the “GWC Guy With Camera,” which in a way, makes what we do more difficult to sell to the NGO.  
 
Today we need to create better PR for ourselves and what our work can do for them. We have relied too long on results our results and expected the person to get how this can help them.
 
You are also competing with untold numbers of great storytellers trying to do the same thing. They are not just GWC but great storytellers. So, how do you stand out and get the attention that can pay the bills?
 
 
ROI—Return On Investment
 
You need to do more than creating a portfolio of your work for an. You need to develop a portfolio of success stories. Stories are different from the portfolio. You illustrate in the report how there is an ROI. 
 
Two essential elements are needed to convince NGOs to spend money when they already get so much for free. First, they need to see numbers and testimonies.
 
If you can demonstrate how one of your packages helped increase the support for an NGO, then you have their ears. Once you have their ears, you give them the second punch for the knockout—a testimony from that client. 
 
 
Two ways for you to market
 
First, if you do an excellent job for a client, others will see it and ask who did their work. Also, often they are so excited they tell your story for you. Clients telling your story is the best way for your marketing to work. The second way is for you to capture this from a client and use this material to market to other NGOs. Maybe this is a brochure with photos, some charts showing giving going up, and then quotes from the clients.
 
 
 
Why do I not see this?
 
It is being done by many. Most of us stumble into it. We go on some missions trip or go volunteer and create a package for telling the story because we like to do that. Then we share it. A personal project is how Jeremy Cowart jump-started his business. He covered a trip to Africa and put a book together. He shared it, and then Britney Spears people saw it and asked him to work on their next tour.  
 
I think those who can find a great emotional story and invest in doing the story can best show their abilities for Storytelling and capture how this story helped as a change agent [ROI] may launch quickly into more NGO coverages.
 
I can tell you NGOs may not be the best place to monetize what we do with Storytelling. However, today the trend in marketing is to use Storytelling as the content for marketing. Here are some links about this today:
 
  1. Five Storytelling Strategies » Digital Marketing » 435 Digital Internet  
    Nov 13, 2013 – When it comes to the content on your site – whether it’s a weekly blog or occasionally updating a module on the homepage – it’s never a bad 

     

  2. How to Use Storytelling as a Marketing Strategy | Wired Advisor Blog Everyone has a story to share. We are shaped by our life experiences, both personal and professional. Sharing stories about our own lives and also the lives 
  3. The story as Strategy, How Social Storytelling Leads to Business | Social
    Social Media Marketing Podcast 69, in this episode, Gary Vaynerchuk Gary shares why Storytelling is essential for your business.
  4. 5 Secrets to Use Storytelling for Brand Marketing Success – Forbes
    Learn the five secrets that brand storytellers understand and use, and indirect brand marketing initiatives have become a strategic priority.
  5. Integrate More Brand Storytelling in Your Content Marketing Strategy Jun 26, 2013 – Discover how your company can easily integrate characters and stories consumers want to share into your content, as well as examples.

Carrying my Fujifilm X-E2 every where I go–for a good reason

Fujifilm X-E2 with 55-200mm, ISO 2500, ƒ/5.6 & 1/125 with OS turned on and handheld.

Being ready is why it is essential to take photos all the time. I tested my new FUJINON LENS XF55-200mmF3.5-4.8 R LM OIS on Sunday.

Cropped to about 100% from the photo above

My daughter’s choir was singing as well as the kindergarten class singing “Deep and Wide.” I was sitting on the balcony. You can get an idea of how far back I was with the photo below I took last year with my Nikon Coolpix P7000.

Nikon Coolpix P7000

Here is that photo above cropped at 100% approximately.

By shooting when I can for myself and not a client, I am building experience with the camera, and this results in my knowing what I can and cannot expect from the camera.

Fujifilm X-E2 with 55-200mm, ISO 2500, ƒ/5.6 & 1/125 with OS turned on and handheld.

I love the Fujifilm X-E2 from tests like this that I am doing. I am comparing it to the Nikon P7000 I carried all the time until I got the Fuji X-E2.

100% size cropped from the photo above.

I attribute the photo above blur to hand motion. I now know the shutter speed is up to 1/250 or faster when zoomed out. Better to know this now than with a job.

You need to know your camera like your stick shift car. You have to know when to make those adjustments so they are second nature, or just like a car, you could stall out and miss the moment.

I continue to play every day with my camera. I just went out one afternoon and played around near City Hall for Roswell, GA, near my house. So here are those photos for you to see as well. Can you tell I am having fun with this camera?

Fujifilm X-E2 with 18-55mm, ISO 640, ƒ/16 & 1/125 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 1250, ƒ/16 & 1/125 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 6400, ƒ/16 & 1/40 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 800, ƒ/11 & 1/125 with OS turned on and handheld.
Fujifilm X-E2 with 18-55mm, ISO 1250, ƒ/11 & 1/125 with OS turned on and handheld, Macro mode.
Fujifilm X-E2 with 18-55mm, ISO 400, ƒ/11 & 1/420 with OS turned on and handheld.

Successful photographers focus on two things others do not

Benjamin Franklin says he wasn’t sure if the painted image carved on the chair used by George Washington during the Constitutional Convention was a sun rising or setting. However, when the Constitution was finally approved and signed, he declared, “I have the happiness to know that it is a rising, not a setting sun.”

What Changed?

The key to seeing things in a positive light, like Benjamin Franklin, is to focus on the future and not on the past.

I cannot go to a single photographer forum online and not see a lot of heated, sometimes bitter debates going back and forth about how things used to be and how something has now changed.

Instead of people looking at how to go forward, they are looking for whom to blame.

Years ago, executives didn’t write their letters. They didn’t even have a typewriter. They had secretaries do all this for them. They dictated their letters and memos. I remember this being the case until the mid-1990s for many companies.

Then came along computers. It took a while for their adoption in the workplace. Executives today do all their correspondence for the most part and may have someone help if they are that busy and have the funds for the assistance.

I can see more and more executives in the future doing even more due to the ease of the technology to create.

Where professional communicators are going to be finding work in consulting and helping executives but doing the day-to-day work will disappear.

The problem is monetizing the new model of the future–whatever that will be, I don’t know.

Facebook is one of the ways I get a lot of news, and no, it isn’t all from newspapers. Instead, many are from Twitter feeds and people posting their content–what Patch is doing.

We need to quit bitching and complaining about the model we know is disappearing. Instead, we need to be relevant and create content that commands attention. Just because you have been shooting for 20 years does not mean everyone needs to hire you to accomplish their goals.

Stop overanalyzing what was and focus more on the clients and your audience. We have focused way too much on the subject and gear and forgotten what we create is for–an audience and a client.

1) Audience and 2) Clients

To get a job as a photographer, you must have a portfolio showing that you are what clients need to solve their problems today and in the near future.

You must first master the craft before people can hire you to shoot. The problem is that this is where most photographers stop in their growth.

Like their clients, most photographers’ problem is understanding what their audience wants and needs. Unfortunately, too many photographers focus so much of their attention on a subject that they are unaware that the audience doesn’t care about it, or just as bad that photographers are crowding the market shooting that subject that it is almost impossible to monetize that subject.

Great examples of two markets saturated with photographers are weddings and sports. Even with many in the market, it is not to say you cannot be highly successful, but just hanging a shingle out and offering photographic services will not make you successful.

Successful photographers are migrants.

A migrant is an itinerant worker who travels from one area to another in search of work.

If you are also willing to learn another language, you open the door to even more possibilities with your camera. While one town may have its market saturated with photographers, other communities worldwide do not. If you desire to stay where you are in the house you grew up in; then you may have to become quite creative to find or create the market for your talents.

When the Audience and Client are the same, this is when you have a Business a Customer [B2C] model. For example, B2C is the wedding photographers and most portrait photographers market.

When the Audience and the Client are separate, this is the Business to Business [B2B] model for a photographer. B2B is where the media, corporations, and small business use photography to reach an audience.

Whoever pays you is the Client. The audience is not always your Client.

The thing that is appealing about B2C is you only need to understand one group rather than two when doing B2B.

When you are staff, it is pretty easy not to understand the industry’s business side. Someone else, your employer, is taking care of it for you. Not knowing your business’s audience is where the lack of understanding can mean that your employer turns many of your ideas for subject matter down. For example, you fail to understand how this story has a Return On Investment. As a result, the idea you pitched lacks an audience. Start thinking like the publisher and connect with your audience; you will help grow the business.

“If you build it, they will come.” — Field of Dreams (1989)

“This is bad advice from the movie Field of Dreams. Why bad advice? Most startups focus so much on the product (building it!) that they forget about customers and network: Customers, because they need to pay for it, and network, because without a community of power fans around your startup, it will be very hard to scale.” — Scott Case, chief executive of Startup America and founder of Priceline

I love the movie Field of Dreams. There are some great things to learn from the movie, but I would have to agree with Scott Case on the odds of this model working.

Your success will determine if you are forward-thinking like a chess player. While you might still be starting, you must think and move ahead.

You can still have problems just like a chess player. But by planning and thinking about the Audience and Client, you are now focusing on your revenue stream and not just the fun of shooting photos.

How to make the change

Let’s say you have been photographing a subject for years and are an expert on it. For example, maybe you have been covering coffee as I have been.

Take a moment and write a list of all the people who would be interested in your subject. For example, here is mine on coffee.

  • Coffee Farmers
  • Coffee Cooperatives
  • Coffee Roasters
  • Restaurants
  • Coffee Industry
    • Trade Organization
    • Media for the market
  • Coffee Drinkers
You get the idea that there could be more to add to the list. So first, go back through the list and distinguish if a client or the audience. Further, break it down by identifying the audiences for each Client.
Here is an example:
  • Coffee Farmers’ Audience
    • Coffee Roasters
      • Cooperative
      • Local
      • International
    • Coffee Drinkers
      • They roast and sell directly
      • Providing content to their clients that help them connect to their customers [drinkers]
After doing this, you go and start looking for content that will help them. Then, when you pitch this to those clients and audiences, you do so with a hook that addresses the simple question-WHY?
The second question that follows the Why?–is the How? Question. How will this help the audience and connect with them?
Focus your action plans for your business on the audience and the Client to succeed.

Photographer how’s your memory?

I bought some of the Case Logic hard drive cases, which I continue to use today. The cases outlast the drives.

Here is a link to those cases in Case you want them.

I haven’t done a lot of research on hard drives. I have read about which ones are doing well, but when I get to the store, often there are newer models available.

My preference is the firewire connection hard drives. But with the prices on these so high and the availability of choices so low, I have only a few of the firewire drives. Most of my drives are the newer USB-3 or, the older USB-2.

Whatever at the time is the largest hard drive with a competitive price is what I have been buying, and most of the time, I drive to Frys, which is close to my home in Roswell, GA.

Two external hard drives

When I travel, I always carry two external hard drives. One is a complete mirror backup of my Macbook Pro 15″ computer. I use SuperDuper! For cloning my hard drive. I do this about once a month. Usually, my next trip is what prompts me to back up

If I ever have trouble on the road, I can do a complete reinstall from this hard drive or launch from this hard drive by holding down the option key when starting my computer. In addition, by choosing the external hard drive, I can now run off of it. The advantage here is now I can run DiskWarrior to clean up any problems on my hard drive while I am on the road.

I have had to save my bacon more than once with this backup.

The other hard drive is for images and photos. So I ingest all my memory cards using PhotoMechanic; the destination is always the external hard drive.

I will leave you with one last tidbit. I also have CardRaider Photo Recovery when I need to recover images from my memory cards. I accidentally mixed cards up and formatted them before I ingested them. I thought I had one card in my hand and had reversed them. This software is for the Mac.

Fuji X-E2 Manual Focus

Here in this photo is the setup I am using to demonstrate the manual focus of the Fuji X-E2.

When you switch the focus mode selector to M (manual), you can turn the focus on the lens.

The switch is on the front of the camera, as you see. It would be excellent for you to override the Auto Focus and grab the focus, but that isn’t possible now with the camera. Overriding autofocus is something I would love for Fujifilm to add as a feature in the next firmware update.

When you look through the finder or on the back with the LCD screen, the view will look like this before you touch the focus or push the shutter release halfway down.

When you start focusing, the camera will zoom in if you have the MF Assist turned on. I highly recommend using it because it is better than the traditional DSLR because you cannot zoom in and see the details to focus on this critically.

By pressing and holding the center of the command dial, you display the MF Assist menu. You get to choose between two options: Focus Peak Highlight or Digital Split Image.

The Focus Peak Highlight–highlights the high-contrast outlines. Rotate the focus ring until the subject is highlighted. Focus Peaking works for me the best or most of the time. For example, I used it to get the image below here.

Digital Split Image: Displays a split, black-and-white image in the center frame. Frame the subject in the split-image area and rotate the focus ring until the three parts of the split image are correctly aligned.

Here you can see the Digital Split Image. The clue that you know which one you are using is the Digital Split Image assist in B&W.

Press the center of the command dial to zoom in on the active focus area during shooting, which also works in AF Mode. It will show you the focus point where ever it is in AF Mode. Just press again to return to full frame. Focus zoom is unavailable in focus mode C or when PRE-AF is on.

My Fuji X-E2 travel kit

The Fuji kit looks like what is becoming my go-to system. Unfortunately, I am missing the new 10-24mm ƒ/4, which will not be out until March.

If they made a 28-300mm equivalent to the Nikon system, I would use this and maybe just a super wide zoom like the 10-24mm slotted for March. Right now, the X-E2 with the 18-55mm and the 55-200mm will have to suffice. They do a great job right now.

I see replacing the 18-55mm with the newer 16-55mm ƒ/2.8. I can also see replacing the 55-200mm with the 50-140mm ƒ/2.8. I think that the faster ƒ-stop will improve the camera focusing in low light and give me a shallower depth-of-field.

I am very interested in learning more about their flash system. Imagine if they could develop a plan with a radio remote built into the flashes and cameras in the future. Of course, I am dreaming but I also hope Fujifilm is paying attention to the pro’s desires. I think they are close to taking a chunk of the business away from Nikon and Canon.

The one thing I hope they continue to do, leading to them ultimately dominating the camera market, is updating firmware on cameras. They are doing a better job updating older cameras with newer software capabilities.

The XF lens lineup that Fujifilm has planned for the Fujifilm X series through the end of 2014. Zeiss is making two lenses right now for the system.

Photographers we are part of a community

A few days ago, Dave “Mullet” Martin, Associated Press photographer based in Montgomery, Ala., died after collapsing on the Georgia Dome field after the Chick-fil-A Bowl on Tuesday night.

Dave Martin is on the left wearing the blue shirt in this photo of photographers covering the Chick-fil-A Kickoff earlier this year.

In the days following Dave’s loss, people are telling stories of “Mullet” and “Vern.” Of course, he called just about most other photographers Vern.

Sean Bush commented on the Facebook Tribute page:

“Hey Vern, one of my members so an so is sending you this can you get it turned around for so an so’s deadline. Oh and by the way Vern yer still ugly.” I had a great admiration for Mullet not only as a photographer but as a person. Dave had a drive like no other, a love for what he did, and the ability it teach by example and kindness.

Mark Lent said:

I have many things to thank Dave for… He encouraged me and always treated my abilities as a photographer as equal to his own, even though they were not.

There were many stories about Dave, and the theme I continued to hear was how hard Dave worked and competed against everyone. You also heard how much he mentored so many. What was also special is how he often gave others shooting for him a better angle but always came away with great shots from wherever he was shooting.

He loved to joke and give everyone a hard time, but he also respected others in the profession. He was not putting you down to elevate himself. What he was giving to all the photographers that knew him were respect and acknowledgment.

Tami Chappel, Reuter’s photographer, posted on the Dave Martin Tribute page that a gathering at Manuel’s Tavern occurred this past Saturday night. As she said, Dave had a restaurant in every town he loved to go to, and Manuel’s was that place in Atlanta.

Tami printed some pictures of Dave that we put on the tables as we gathered to tell our stories with Dave.

We all stood up together and toasted our friend and colleague who brought us all together in his honor in his death.

Here is a photo of Michael Schwarz showing a new camera to David Murray and David Tullis. Sharing is typical of Dave’s friends. We love to share what we are learning and know that while we all compete, we are also close because we have so much in common.

You can see the joy on everyone’s faces as they share experiences. We enjoy not just telling our stories but listening to one another.

I can almost hear Dave giving John Bazemore hell for the photo on John’s computer in the image above. “Why did you shoot that photo?” I could listen to him say.

Then I guess Dave went back to editing, thinking I didn’t get that photo that Bazemore got. Later I can hear him complaining that pictures of John’s ran everywhere. Sometimes he was joking, and other times, he was trying to figure out why that photo worked with more editors. He would then beat us all the next few times.

While John Bazemore was shooting with every other photographer at the end of the Chick-fil-A Bowl, competing for the space to get the shot, he noticed it wasn’t as tricky, and that is when he saw Dave was not there.

Every year, we notice that it is easier to get that photo. I hope we all realize it is because Dave is gone and remembers a class act.

I am sure Dave “Mullet” Martin would tell me, “Just Shut Up and Make A Picture!”

Fujifilm X-E2 testing the 18-55mm and 55-200mm with Test Chart

I bought the Large High-Resolution Test Chart for Camera Lens off eBay for $27. Here is a link if you choose to do something similar.

Here is the setup where I had two soft boxes at 45º. I did a custom white balance using ExpoDisc.

Put the chart on a music stand and then moved the camera back as I zoomed in.

I made all the photos at ƒ/8, 1/180 @ ISO 200. I also used a tripod to be sure I didn’t introduce any camera shake into the pictures.

Below each photo is a link where you can download the high-resolution JPEG as the camera captured it. The color space is ADOBE RGB, and I chose the standard color setting comparable to the Provia color space.

Fuji 55-200mm @ 55mm [High Resolution]
Fuji 55-200mm @ 135mm [High Resolution]
Fuji 55-200mm @ 200mm [High Resolution]
Fuji 18-55mm @ 18mm [High Resolution]
Fuji 18-55mm @ 23mm [High Resolution]
Fuji 18-55mm @ 35mm [High Resolution]
Fuji 18-55mm @ 55mm [High Resolution]

My conclusion is that both of the lenses are sharp. Now, this is at ƒ/8, and later I will test the lens at all the apertures, but this is to give you a glimpse into how nice the lens performs.

Fuji XF 18-55mm ƒ2.8-4 and XF 55-200mm ƒ/3.5-4.8 at the Chick-fil-A Bowl game

[Fujifilm X E2, 18-55mm, ISO 640, ƒ/2.8, 1/60]

I am not entirely comfortable enough to shoot an assignment with the camera alone. The reason is nut the camera’s capabilities but my knowledge of how to use it. Shooting with the Nikon D4 is second nature.

I must get to this point with the camera where I am not hunting for the control to change something on the camera.

[Fujifilm X E2, 18-55mm, ISO 6400, ƒ/5.6, 1/105]

I set the camera to shoot on Auto ISO RAW. So the lowest ISO would be 200, and the highest is 6400. I also set the shutter speed to 1/60 and would change that to 1/250 and 1/1000, depending on the situation.

[Fujifilm X E2, 18-55mm, ISO 640, ƒ/4.5, 1/220]

For every camera I have owned, the autofocus has so many options that if you choose the proper setup for a situation, you get incredible results. Autofocus issues are why most pros ask other pros if they are having trouble with a similar camera. Then if they are not, they ask them what settings they are using for a situation.

[Fujifilm X E2, 55-200mm, ISO 2500, ƒ/4.8, 1/500]

Mostly, all these photos were custom white balanced using the ExpoDisc.

[Fujifilm X E2, 55-200mm, ISO 4000, ƒ/4.2, 1/500]

I like the skin tones with the Fuji X E2. I also think their lenses are super sharp and have great dynamic range and color.

[Fujifilm X E2, 55-200mm, ISO 5000, ƒ/4.8, 1/500]

All the images I processed using Adobe Lightroom 5.3.

[Fujifilm X E2, 55-200mm, ISO 4000, ƒ/4.8, 1/500]

I had just bought the new Fuji 55-200mm, my first time using it.

[Fujifilm X E2, 55-200mm, ISO 2500, ƒ/3.6, 1/500]

I loved how the lens felt in my hands. It was well balanced and well built.

[Fujifilm X E2, 55-200mm, ISO 6400, ƒ/4.8, 1/500]

Shooting the coin up close with the 55-200mm and shooting from the press box were two extremes where the image stabilization showed how good it worked. In addition, I was pleased with the results of handheld photos in both of those situations.

The reason I am so excited about the Fuji is its weight. My wife took a photo of me in the press box shooting.

Photo by Dorie Griggs

I was carrying all this on me using the backpack, and the ThinkTank modular belt system from 1:00 pm to 1:30 am.

  • 2 – Nikon D4 cameras
  • Nikon 14-24mm ƒ/2.8
  • Nikon 28-300mm ƒ/3.5-5.6
  • Sigma 120-300mm ƒ/2.8
  • Sigma 1.4 converter
  • Shure Wireless lavalier microphone system
  • Nikon SB900 with spare batteries
  • 2 – Spare batteries for the Nikon D4
  • 10 – CF, XQR, and SD cards
  • Fujifilm X E2
  • Fujifilm XF 18-55mm
  • Fujifilm XF 55-200mm
  • Manfrotto MonoPod
I could cut this down to 20% of what I was carrying if I just added one more Fuji X E2 and let go of all the Nikon gear.
I will keep my Nikon system until I can comfortably shoot sports and videos with the Fuji system as I can now with the Nikon D4. There is a chance that some of this is just my ability to use the Fuji X system.
I can tell you I will be shooting a lot more with the Fuji system.