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Tag Archives: Nikon
Whenever I teach, as I’m doing this summer in a short class on action photography at The Image Flow in Mill Valley, I find two things to be the most challenging: Explaining to others what I do instinctively in a way they understand and not knowing what the students don’t know.
The first forces me to think in granular terms about what I do with the camera — and why. For example, one student asked me why I usually use ISO 400 as my base setting when most digital cameras have ISO settings lower than that. Well, I answered, somewhat lamely, it’s because I grew up on Tri-X, Kodak’s legendary black-and-white film. It had an ASA of 400 and my earliest lessons about light and manual exposure were learned using that number as a base — and those lessons still work today. In other words, it’s a habit, albeit one that serves me well.
The second challenge is more difficult. What each student knows about photography in general and the intricacies of their own camera in particular varies widely.
Most, not surprisingly, came to photography in the digital age and with cameras so advanced and so automatic that they skipped the need to studdy the basics of photography, so they have a poor understanding of the connections between light and exposure, between shutter speed and aperture, and between focal length and depth of field.
They all have inexpensive lenses that in a short twist of the barrel leap rom wide-angle to telephoto, so they’ve never had to master the physical art of moving through a scene with prime lenses in order to change the point of view or to get closer to or farther from a subject.
Because of these gaps, each time I attempt to explain something more advanced, such as capturing the fleetness of a runner with a pan or freezing the motion of boy on bike in a half-pipe, it opens the door to a more basic discussion about the principles behind the technique and where to find the buttons and dials on a particular brand of camera in order to get the technical stuff right.
For this reason, I learn along with my students. I learn about my own habits (good and bad), I learn how different types of cameras work (even their Nikons don’t function as mine does) and, most importantly, I learn I need patience in order to succeed — and that’s a lesson that applies to photography as well as teaching.
It’s been cold here in Marin — well, California cold, meaning below 40 at night. Yesterday, morning brought a crunchy layer of white frost over the deck, a coating, that with the cool-blue, pre-sunrise light, made for a nice picture.
The scene also illustrates a continuing issue with my D3, a camera I otherwise love. It vignettes most of my lenses when they are wide open and have a hood on them — which for me is often. This is shot with 28-70mm, 2.8 Nikon, a crispy sharp lens known as the Beast. At 2.8 with a hood, it vignettes on the D3, as does my 70-200mm VR (even without the hood) and my 17-35mm, 2.8. This didn’t happen with my D2Xs.
For this kind of shot, I don’t mind the vignette, but for editorial work — my bread and butter, it’s a pain and not something art directors want. I have to spend time Photoshopping it out. Any suggestions (other than switch to Canon or stop down?)
* People Who Need People: The New York Times asks the question we’ve all been wondering about: “Can a few snapshots of a baby or a bride, accompanied by a fawning article, really be worth millions of dollars?” Read the whole story about why tab magazines now routinely pay celebs to play (like this cover of Branjelina and child).
* Gulf Twosome: The two shooters atop the current photo how-to heap — David Hobby and Joe McNally — report back from the doings at Gulf Photo Plus. David offers the behind-the-scenes story on this SB800-laden image. Joe calls Dubai “3 parts Vegas, one part planet Tatooine, and 6 parts oil money.
* Photographers Wanted: Want to be a photojournalist? These newspapers are hiring.
* Pitching a Home Run: Rob Haggert (A Photo Editor) tells us how to make winning pitches to photo editors. Rule #1: “The absolute fastest way for photographers to get a story made is to approach a writer that the magazine uses on a regular basis.”
* Jumping the Canon-Nikon Divide: Freelance sports photographer Preston Mack switched from Canon to Nikon when he heard these words from an editor: “The cover image doesn’t look in focus.” Read Mack’s whole tale of learning to love the D3 on Sportsshooter.com.
* Nikon’s new website, Nikkor.com, is live and features the work of photographers who use — what else? — Nikons. Despite the marketing intent of the site, the work it showcases is terrific. Check the images by photojournalist Amy Vitale. (Thanks to Nikon Watch for the tip.)
* Strobist-in-Chief David Hobby points to this portrait of Admiral William J. “Fox” Fallon by photographer Peter Yang for Esquire Magazine. Yang made the photo with one light, a technique, says David, that anyone can attempt regardless of the price of their gear. (Here’s my mimickry of the Peter Yang shot.)
* The Photoshelter blog, written by Rachel Hulin, has a Q&A with photojournalist Antonin Kratochivl (Iraq, Myanmar and other conflict zones) that includes a wonderful portrait of him by Clay Enos. (Tip from A Photo Editor.)