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26 April 2013

Got MUSE?

"O! for a muse of fire, that would ascend the brightest heaven of invention..."

- William Shakespeare, Henry V Act I, Prologue

I'm still working several endeavors at once right now, but I'm glad to say I'm still on top of my original plan to go big on my nude work. As I mentioned before, last year, I only shot 4 models and only 7 the year before that. I'm not sure what my count is up to just yet, because some of those fell through even after I did the work. But I can still say I'm having fun with it. I've recently had the opportunity to work with two friends of mine that have been at least two years in the making. Its been one of those planned-on things, that just never got done. Until now...

I initially wanted to shoot 20 models for the year. Not quite sure how I'm going to make that goal. I'll be traveling for a considerable chunk of the latter half of the year. I hope to do some on the road, but who can tell how many? I'm a quality over quantity kind of guy anyway. But then there are those times when I start to do more work with fewer models. When you begin to gel with who you're currently working with, its easy to forgo finding new talent. That's a strong tendency of mine, and with Emma and Alethea, I've got catch-up work to do! Like I said, we've been trying to hook up for the last two years. I love these girls and they have been a tremendous blessing to have around and call friends.

And it was a good session to say the least, especially after overcoming the fact that the initial site, which the primary concept hinged on, was no longer available to us. We still worked some secondary and even tertiary sites that still afforded us excellent possibilities. And while we were able to turn out superb images on our debut photo session, I suspect the next one will be even better. Yeah, I like putting that kind of pressure on myself.

“You can only use someone for so long before you dry them out. How long does a muse last? When do you let them loose?”

― Coco J. Ginger (Good question...)

Another thing that makes having a great muse or two fun is having the opportunity to just PRACTICE. As glorifying and romantic as you might think it happens, artists rarely have an epiphany or dream concept that comes to them in the night and then they perfect it first time. Its more often a vague idea, that gets tossed around, experimented with, and trashed long before it comes to fruition, much less gets perfected. A good muse will allow you to work through those processes to hone your craft, refine your concepts, polish your skill set, help cultivate new ideas when original ones don't work.

I'm looking forward to the next series of projects I have planned for these girls both together again as well as individually. They are strong together and I can also benefit from their work independently. My aim is to maximize the potential I see in them by challenging my ability to conceptualize thus optimizing the potential in myself. That may sound corny, but anyhoo...that's the goal. I'm just glad I get to work with these girls.

27 March 2014

There and Back Again. A Photobbits Tale

Ha! I like that title. Thought of it myself. Yep. Just came to me.

So I'm back. The name of the game now is CATCH-UP! I clocked about 3 months on the road this time, yet I'm still amazed at the perpetual travelers who are gone for a year or more. I read about travel bloggers who have been at this for a decade and can only marvel at how they organize their lives. I feel slightly overwhelmed at being back, catching up on mail and home responsibilities. My situation was slightly exasperated in the fact that I relocated only a week prior to hitting the road, so upon returning, I came back to my new home with all my things still boxed up. Things were made a bit easier....well, I should say a whole lot easier in the fact that my new landlords are friends of mine. It would have taken me weeks to get settled in, yet Susan had completely unpacked and put away my things in a few hours, while I helped Jerry install some new appliances and do a few adjustments to the place which now feels like a home. Thanks Susan.

I had been back for two weeks and then headed out to Mexico for a week. I just got back from there two days ago and now I can better concentrate on getting pics edited. I still need to get my high speed internet installed next week and set up my computer network again. I'm sure there are some updates to Adobe that I need to install to handle all the RAW shots I did using the new Fujifilm XE-2 camera that I bought just prior to leaving and the updates were not available then. Right now, I can see the images, but cannot get metadata appended to the new Fuji RAW format. Hopefully that issue will be resolved when I get internet and get my home network set up again.

So yeah. I'm finally back and the priorities are getting back to work, finding new and interesting photography gigs, lining up more one on one teaching projects (for my 2-week training course), and pushing myself to the next level in my art nudes. My goal in that regard is conceptual work that is new and original. When I say push myself, that's entirely what I mean. I want my art nudes to develop and evolve into something different and I think my approach will be more provocative and bold and less conservative. I want to be less concerned with societal norms and just play "what if". So I'll be looking to work with models and women who are less inhibited and are willing to give me creative liberties the freedom to explore, experiment, and push myself. This will also push the model as well, but I still want collaborative relationship. There will be times when I have something specific in mind, of course, but most models who work with me understand I like to shoot what is given to me and value model input. And when I say models, I'm also welcoming first-timers and women who have never done anything like this before. I don't want someone reading this who might have ideas, but then keep it to themselves because they don't consider themselves to be a "model". A large percentage of the women I work with every year are have never been naked in front of a photographer before. I've been criticized about promoting first-times/non-pro models before, but those people can go kick rocks. I like working with who I like working with.

So I'll still be shooting nudes that have been consistent with what I've always been doing, but I will definitely be on the lookout for 5 or 6 models this year that have some of the same goals in mind as I do. I can't even articulate as to the specifics just yet. I'm still searching this thing out. Now that I'm back, I can start thinking about how I want this new conceptual style to develop and am open to any ideas you guys might be willing to throw at me, especially potential models who have had something cooking in the back of their minds but just have been too...I don't wanna use the word "afraid", but it does seem to fit.... to do. Or maybe not "afraid", but rather simply have't had the right circumstances or photographer to pull it off. I'll be looking for different body types or body features in models. I like "different". I embrace it. I've been called different all my life. I never enjoyed that term growing up, but I hug it like a lover now.

My next travel plans/goals aren't til the summer. I'd like to head to South America this time and catch up with a model I shot in Nicaragua. She's still traveling right now and should be in Peru and Bolivia by July. It might be cool to catch up with her there and finish what we started a few months ago. I'm also contemplating on bringing a model with me. I'd so love to do that, but its not so easy and I'm not sure my money will allow it. I just learned this week that I might be expected in Tennessee and Texas soon and I have some other considerations that might make traveling with a model on my dime tougher. An ideal situation would be coordinating with another traveler who wants to be travel buddies and doesn't mind getting naked along the way either. How cool would that be! Or better yet, a client contracting me to follow them around with a camera doing nudes in South America! Hey...I can dream, can't I? I definitely want to do more travel work with clients and if they wanna get naked as well, I'm game. But in the meantime, I got lots to figure out and catch up on, yet still keep it in mind that we're only talking about this being 3 months away. I can't let time slip on me and next thing I know, we're in mid-August and I suddenly remember I forgot about everything. That would not be good.

14 May 2013

Canon or Nikon?...Let me Help with That

"There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are."

~ Ernst Haas

I often get asked variants of this question or hear statements pertaining to Canon vs Nikon.

"Should I buy Canon or should I go Nikon?"
"Canon is the bigger company so is it the best?"
"Everybody I know owns Nikon so Nikon is better, right?"
"I had a Canon once and it broke after 3 months. Canon can't be a good company."

I am pretty sure it will be a perpetual inquiry until one company ultimately fails. I've touched on this before over the last Christmas holiday discussing both, "How to Shop for YOUR Photographer" as well as, "Getting into Photo, Part I...The Camera". But hey...this is a blog. So I'll touch on it again.

Art Model, Emma
©2013 Terrell Neasley

Canon is the bigger company. Nikon is next depending on whether or not we're talking compact cameras or the bigger DSLRs. With respect to compacts, Sony is actually No.2, just ahead of Nikon, but Nikon holds the No.2 spot with DSLRs. You also have to throw in the new mirrorless systems, (Sony NEX cameras or the Nikon 1 systems) as well as the mirrorless micro 4/3rds systems that are increasing in popularity like the Olympus OM-D system.

But lets keep this simple. With respect to the main question, its should you go Nikon or Canon. First make your decision off of two parameters. One, how does it feel in your hands with respect to weight and the natural feel of where the shutter release button is. You might even consider aesthetics, or how the camera looks. Two, find out what your friends have, especially where DSLRs are concerned. You may be able to borrow or interchange gear between the each other. Your buddy may want to check out your wide-angle lens. Your lens could fail and you can borrow your buddy's nifty-50. The point being, you can help each other.

Aside from that, both camera companies are just about even. You won't go wrong with either manufacturer. With regard to DSLRs, you're buying into a system. Later you'll need better lenses or lenses for different purposes. You might need a flash, or a cable release, or any other numerous dedicated equipment pieces for your camera. Any particular year, either company may take the edge in megapixels or some other feature. I used to shoot Canon for quite some time. I changed because my needs changed. I wanted to be closer to medium-format for better depth in my images. Nikon gave that to me in the 36mp D800e system. I switched because Nikon accommodated my need better than Canon, but for the average user, Canon STILL makes great cameras. Tomorrow, they can produce a 46 megapixel camera. Will I switch back to Canon? No. Not as long as my needs are being fulfilled adequately enough by Nikon.

"Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child."

~ Norman Mailer

Now...if it were me and I was buying my first camera today, I'd honestly probably still go Nikon, just because of timing. Two years ago, I'd still say the Canon Rebel was better than Nikon entry level systems. Today, Nikon has the D3200 and the D5200 that are both REALLY good systems with 24mp, more Autofocus points, and also cheaper than the newest Canon Rebel T5i. Next year, I may not be able to say this, so I'm talking for today and right now. As a comparison, you can easily check out Snapsort.com where you can compare specific cameras and see how well they fair. This is one I did with the T5i and the D5200.

Just because you bought a camera from one manufacture which broke, remember that was ONE camera. Its not indicative of the entire company or even all cameras of that model, unless there is a actual identified defect in all of them. Working in the camera shop the 2 days a week I do, I see customers come in often with a complaint about a camera model and swear to only buy from the "other guys" from now on. That's not a very tenable solution, because I can tell you for fact, that both manufacturers have products that fail, sometimes right out of the box. I can also tell you that when products DO fail, Canon is "Johnny on the Spot" with getting things fixed.

Buy a camera that has the features you like with benefits that are important to you. Maybe you like Wi-fi, touchscreen, megapixels, or the ability to shoot 60 images a second. Let that be your main guide in camera selections. You can easily visit Las Vegas-based B&C Camera and talk it over with the guys working there to help explain some of these features. Ugy manages the main West location (4500 W. Sahara) and Tony handles the new East location (1550 E. Tropicana). Both have the best TEAMS working there which is why they are now the only camera shop in town and thriving...just just surviving. Check 'em out.

16 July 2013

Riding on Top of the Wave

"There is a certain relief in change, even though it be from bad to worse! As I have often found in travelling in a stagecoach, that it is often a comfort to shift one's position, and be bruised in a new place."

~Washington Irving

There is a lot of stuff going on in this business of photography. I can spend the rest of the month in constant discussions without taking a rest and still never touch on half the issues. This is definitely an interesting time in photography...a new paradigm shift, possible devaluation of the services, and trends that will, in all likelihood change how we capture and manipulate light. There is enough to make you wonder whether or not you even want to venture into this thing. You may even contemplate what gear you decide to purchase, and the brand or format. As with all times of change, transition is a definite challenge. My goal is to ride it out like a surfer on a wave. In which case, it is highly important to be on top of said wave, as opposed to being under it!

Art Model, Christina
©2013 Terrell Neasley

What do I mean with all this? Lets look at a couple of points. If you've been reading my blog lately, I've touched on problems for the pro photographer. Look at the news and you can see the Chicago Sun Times firing its entire photo staff. You can read about copyright infringements for photographers in record numbers. There is an increasing expectation of free/cheap services from photographers. Many wedding planners will spend big on food, flowers, the dress, and the venue, but when it comes to the photography, they look for the deal or find the cheapest person holding a camera they can. Let their house catch fire and the first thing they grab is the photo albums. I've been in situations where I've watched a client pay huge sums for everything else to cater an event, then call me and ask me to photograph it for credit and exposure. There is not one event or situation I have worked where the "exposure" ended up as a future gig that made me money. And until they start taking photo credits in lieu of cash for my rent, I'll continue to charge my regular fees, thank you very much.

What about the future of DSLRs? Are these big cameras gonna last? Are they still necessary? I'm predicting that within 2 years, a major camera manufacture will introduce a mirrorless full-frame DSLR. I think its inevitable. Some include the almost 3 times crop sensor like the Nikon 1 system, the 2 time crop Micro Four/Thirds format like the Olympus OM-D, or my fave, the Sony NEX system, particularly the NEX-6 with the APS-C sensor found in DSLRs. Canon is still trying to find its way into the mirrorless market. Some of these gimmicky features like built-in wireless/GPS may be handy for some, but not the masses. But mirrorless technology? Yes, this is coming to a DSLR real soon. Big and clunky will be a thing of the past and that's okay.

Times are a-changing. I'm not stopping my photography, so I want to be on top of this wave, hanging ten. I can even tell my own tendencies have adjusted. With travel becoming more and more important to me, weight is of a major concern. I want smaller gear. While I'm still partial to my Nikon D800E for fine art, I don't really want a DSLR second body like I used to have when I shot Canon, along with almost every L-series lens out there. There's not another full-frame to complement my 800e (that I like) and I don't want to duplicate that platform. The D7100 may be close, but I still prefer full-frame. Depending on the money, I think I'd opt for the Sony RX-1R (for $3000) when becomes available, as my second body.

"It is not necessary to change. Survival is not mandatory."

~W. Edwards Deming

What I would really like is the Leica M Type 240. Now we're talking about a SYSTEM here. Check out this review. If you don't read all of it, skip to the end. Spoiler: He buys the camera! The Leica is the Mercedes of 35mm format of cameras. Its a rangefinder and is definitely not cheap at just under $8 grand. I would love to travel with just a rangefinder and a single lens, probably the 35mm prime lens. That set up would put me $11,000 in the hole. I can do a lot of traveling on $11,000, or actually $7,000 (the difference between the Sony and the Leica). The thing is that, I just feel like I need to be a Leica owner. There are just some things you need to do at some point in your life. If you haven't done it yet, I think its a must to fly first class on a good airline. I always thought it was trivial. I mean, everybody gets there at the same time, right?

Under the Super-moon,
Art Models Christina, Emma, Emily, Alethea
©2013 Terrell Neasley

No. First Class is the shit. Even if you only experience it once, you need to do it. In addition to that, get behind the wheel of a luxury car on an extended trip...not just a test drive. Whatever you have to do, make that happen. You'll never look at cars the same after that. And in the same light...I think I need to be a Leica owner. You don't have to own the plane you are flying First Class in, nor the Mercedes for your road trip. The same cannot be said of this Leica M Type 240. Renting it would not be the same. You must own it.

I'm certain there is still room on top of this wave, but as any surfer will tell you, you're going to have to practice, get to know your way around a board, and understand the water. In photography, understand the light. Get to know your way around the new technologies. And practice, practice, practice.

28 February 2015

Three Objectives for Central America

"I am not afraid of storms for I am learning how to sail my ship."

~ Louisa May Alcott

Some of what I'll be doing for all this time that I'll be spending down in Central America will obviously focus on taking fine art photos, portraiture, and street work. This is what I usually end up coming back with the most. But I'll also be doing a few other things while I'm away, as well. I'll have a lot of down time to catch up on reading and also doing some writing. But here are some other goals and objectives (among several) that I'll share with you right now.

You always know I always strive to be a better photographer and teacher, so lets start there. If you didn't already suspect or know me, I shoot nudes. That's not all I shoot, but its a definitely a passion of mine. I want to begin there. I want to do a better job of it. Yes. Believe it or not, I have more to learn in that genre. Many of you will probably believe the greater fact is that I ADMIT to needing to learn more. I do not know, as of yet HOW I will approach this objective. I can do my own study and research, but I think I will learn best by consulting with some mentors like Dave Rudin or Dave Levingston. Should I take a class of some sort? Maybe do a workshop that has a direct focus on photographing the nude? Something I have thought of doing for years has been to visit Prague. I find that many photographic artists from just east of Germany and on into Russia have been inspirations to me. I find them to be more in tune with my style or of a such that I aspire to.

In addition to that, I need to make a more concerted effort to actually do more of something with my art nude work. I have terabytes of work that no one has really seen. You've probably only seen maybe a tenth of all the work I've done with Panda. Some of my best work with Emma was never made available for about 8 months before anyone saw it. Kristi C has been a most prolific model for me over the last year. Again, most of it unseen. So big, big focus towards exhibition and a consistent venue to show my art nude work will be a major focus upon my return. I'll likely come out of hiatus on photo competitions and do some of those again, but that's an aside. Exhibition will be a more primary focus when I get back. My work needs to be on walls. This is why I do it...nudes or otherwise. I make my stuff to be viewed in person upon a physical medium.

"You don't learn to walk by following rules. You learn by doing, and by falling over."

~ Richard Branson

Let's see...what else? Oh yeah...again, photographically speaking, I want to do better teaching. I'm limiting myself to 10 students a year, doing one-on-one, two-week courses. I used to conduct workshops when I first came to Vegas with my Las Vegas Art Models Group. A max attendance would be 12 photogs. Now I teach one-on-one and I want to do it better. The goal is to make it more fun, better information, and less taxing on myself. I just did two students back to back this month. I don't know how teachers do it every day like that...ALL friggin' year!! My friend, Howard suggested doing tours where I take people on some of my travel excursions. I can see that. I've already been asking family and friends to come visit me for a few days while I'm away. Meet me in El Salvador or Lake Atitlan in Guatemala for a few days. We can do some photowalks or just chill with me sippin' Cuba Libres. I need more and better teaching props. Some concepts I have in my head simply don't exist! I need to find somebody to fabricate some of this stuff for me. I don't want to rely on videos to make my point. Hands on physical props would serve a better purpose. So yes, I want to contemplate how I will do this.

Video! That's another one. I want to get as good with vids and I am with photowork. I have the A7s, which is excellent for video work. I'll need to get the Atomos Shogun external output monitor/harddrive to do 4K work, since you can't shoot 4K straight to the SD card. But for the time being, 1080p should suffice just nicely. Editing video will also be a key factor, which means I'll also need to bump my subscription to Adobe CC 2014 back to the full version. I downgraded it last Nov to just the Photoshop/Lightroom version. I'll need Adobe Premier Pro back again, in particular. I should also dust off my audio gear. I'll take with me a shotgun mic and maybe my Zoom H4n external audio recorder. My goal is to just make short clips, starting with time-lapse, some slow motion work, and then just build from there. So we'll see.

26 October 2013

The Right Tool... The Gear Loyalty Debate

"A camera is a tool for learning how to see without a camera."

~ Dorothea Lange

Yesterday, I was at B&C Camera listening to my buddy Rob, talk to a customer about cameras when presented with an inquiry about Canon cameras and Nikon gear. BTW, Rob spends more time at the camera shop than I do, so if you're lucky enough to catch him, he'll steer you right. Anyhoo... What was Rob's reply? "I don't concern myself with those questions. The cameras are tools. I primarily shoot Nikon, but my brother shoots Canon. But I will also shoot Canon, or Sony, or whatever I think I need to get the shot I want. I don't have an loyalties like that." Part of that is paraphrased, but that's the gist of his point as I can recall.

There are die-hard Chevy and Ford owners here in America. I'm sure you've been driving down the road at some point and see a Chevy truck with a sticker of a "Calvin"-looking figure urinating on a Ford logo (Right, Taylor!)...or vis versa. Ninety-Five percent of photographers are the same exact way. BUT MUCH WORSE! And to an extent, I understand there's a bona fide reason for it. Unlike auto owners, there's a significant investment in their gear that makes it difficult to switch brands. Yes, a car is a significant purchase. However, if you got tired of your Hyundai and wanted to switch to a Toyota, its a matter of choice for the next time you are ready to buy a car. Photographers have an additional consideration when the thought crosses their mind to switch camera manufacturers... Compatibility.

Anonymous model,
©2013 Terrell Neasley

Buying a camera is not the most significant purchase you will make. Its where it all begins, sure. But lenses are where the magic happens. On average, I would bet that a photog will spend about 3 times as much in lenses as they do a camera, especially if you are full-frame. On the flip side, you will spend more upgrading cameras then you probably will spend upgrading lenses. While I was Canon, my 5D MkII and my 7D bodies were maybe $3500 combined and that represented about a quarter of the value of my lenses. And this is where the hard part comes in. I made the decision to switch brands because my needs changed and the Nikon D800E served my purposes better than the upgrade to the MkII, the new 5D MkIII. Canon makes excellent products, so don't get me wrong. I was Canon for about 10 years. Love 'em. But what did that mean for me? I had to dump my significant investment in Canon lenses because they were not compatible with the Nikon body. I couldn't take my Canon lenses and use them on my new Nikon D800E. Not only that, my peripheral gear didn't work either. I had 5 Canon flashes. I had a Canon Intervalometer. I had radio triggers that only fit Canon gear. That gave me a new challenge. I had to find a way to sell my Canon gear for Nikon equivalents which aren't always doable. My Canon 85mm f/1.2L was the love of my life. Nikon doesn't make a 85 f/1.2! And then I found out AFTER I bought it that I didn't need the Nikon intervalometer, because the D800E has one BUILT-IN! So now I have an over-priced cable release.

Art Models, Alethea and Emma
©2013 Terrell Neasley

“People, there's no such thing as, THE BEST CAMERA BRAND, but yes there will always be THE BEST CAMERA AT ANY GIVEN TIME. Technology will change, but not art.”

― Ashraf Saharudin

So what's my point in all this? Well, its simple. The camera is a TOOL! Lenses and other camera accessories are tools as well. Unless you own stock in your camera brand, or they are paying you to use their gear, or you are dating/married to the daughter/son of a brand executive, why limit yourself? The right tool for the right job. Most guys have heard that said before who have grown up with their dads working the family car or adding the fixing a hole in the roof. And that's the same belief I carry with my gear. Yes, I own and work primarily with a Nikon camera and system. Last year, I was a 10-year Canon veteran. But as I mentioned in my last post about Sony, the A7R might be better suited for my travel work. And if I have a job tomorrow that requires low-light work, I might rent a Canon 5D Mark III because of its superior abilities in shooting at night. THAT's an option. Yes, the Nikon D4 is likely the best possible option out there for that, but its also a larger system and maybe I don't wanna be concerned with the extra weight. Regardless, its an option. I like options.

So here's the deal. Pick the right tool out of your tool box for the job, based on the results you are trying to achieve. I've talked before on picking your system of choice. Well, let me add this, if I didn't speak on it already. Make your selection based on the features that will best deliver the results you wish to achieve. That's how you choose a camera. There is no such thing as a "starter camera". Get what you need that will accomplish the job and fit your budget and make the system with will accommodate 60% of your work your primary system. Then rent the rest. I've even known some who refuse to commit either way. They don't own anything. When they get a gig, they rent what they need for that assignment. Now granted, this individual shoots primarily medium format high resolution images. So rather than invest $50 grand into a system, he just rents what he needs, adds the rental cost into the invoice, and pockets the profits. I'm not that extreme. I have to have something on hand at all times. Even if its just a point and shoot. I've done a pro gig for a client with a Canon Powershot S100, which shoots RAW. It was the right piece of gear for the job. And that's what's key.

04 January 2015

Still in Awe of Photography

“Dwell on the beauty of life. Watch the stars, and see yourself running with them.”

― Marcus Aurelius, Meditations

I've been in this game for a while now. At least since 2005 on a serious level. At any given time, its easy to get bored, burned out, or just simply tired of a profession, industry, or business of some sort. Its normal. Things stagnate from time to time. Monotony often sets in and you have to look for a little change in routine or maybe take a break to step away from your profession from time to time. In the Army, as well as all the Armed Services, we were all encouraged to take some R&R to blow off steam on a regular basis. Getting burned out could cause lapses in inspections of equipment or result in attention to detail issues.

I can't say this has been the case with me in photography. I am just as excited about it now as when I saw my first print come to life as it sat in a fresh batch of Kodak D-76 developer. And that was something in and of itself that you just couldn't get tired of. It was like magic. After careful exposure, and burning and dodging in a darkroom, a blank sheet of Ilford Fiber-based Variable Contrast Multigrade IV paper, suddenly came to live with the image you previously captured on film. I'll confess, though. I had my doubts when I switched to digital in 2007. I was a film purist because I felt digital took out the craftsmanship in which I made that print with my hands, manipulating light and shadow to make the final print. Photoshop seemed too much bits and bytes, and not enough of a man-made feel. I got over that the more I realized, its not so much the hands, but more the mind that creates and manipulates the light and shadow.

I can't say its like this for every photog you meet. I have met quite a few who's camera is more of a job than a creative outlet. They work, earn money, and that's it. No personal projects, just take the money and put the camera down til its time to earn money again. I don't begrudge them. That's their choice. As for me, I think I am still in love with photo for a few reasons.

1. First and foremost, I shoot what I like. You gotta pay me a lot of money to make me shoot something I don't really want to shoot. I learned that when I first got to Vegas and got a gig shooting furniture for a business in the World Market Center here in Vegas for showroom ads. Shooting a white couch under 3 different kinds of light on the showcase floor sucked. Granted, I still didn't know near as much as I do now, but I did it for the money. HATED IT! I learned that early on and it was a blessing. Shoot what you love.

2. I have an inherent desire to be good at whatever I spend the most time in. I study my ass off in most anything I want to know about. But for something I absolutely love, my study habits kick into overdrive. Its not always in a desire to be better. Most times, its because I have something on my brain that I want to create and have to learn how to do it. So I am in a constant state of learning to improve and hone my craft. Additionally, I don't stay on the same thing for too long. One day my thing may be landscape. Another day, its portraits. And then I want to kick it up and do extended exposure. Lastly, I simply hate not knowing. The better you get, the more people you attract. I get other photographers who ask me questions about settings or maybe how to shoot something. Often times I act as a forensic scientist to detect what was wrong or troubleshoot an issue with a camera or image. What's that thick black line that goes all the way across the bottom of your picture? Its a result of using a shutter speed high than the sync speed of your camera when using flash. How do I know that? I didn't want to be afraid of using artificial light, so I studied flash. So study your ass off.

“The world is full of magic things, patiently waiting for our senses to grow sharper.”

― W.B. Yeats

3. I associate with a other photographers and learn from mentors. I started the very first Meetup.com photography group here in Las Vegas. It was the Las Vegas Art Models Group mainly for helping photographers learn to work with the nude model as well as helping nude models get hired by photographers. I then assisted one of the attendees of my group, Garrett Winslow, organize another group, the Las Vegas Photographic Society made for photographers to help them network and grow their craft. Over the years, I developed a good reputation, but sharing my knowledge, but also from increasing my knowledge with mentors like Dave Rudin and Dave Proctor, just to name a few. I have also stayed active in online groups to share my work, get feedback, and offer help to others. So don't become an island.

4. I started working in a camera shop. B&C Camera, owned by my good friend and accomplished photographer Joe Dumic. He bought this camera shop when ever other one was failing, turned it around and this store not only survives, but thrives. He's spearheading his third expansion project for B&C Camera in just 4 years. Joe has helped me immensely in my own business operations. However working in a camera store gives me the ability to tap into a knowledge base you won't find anywhere else. I am there only two days a week, but I get to learn about every new camera system that comes out. Technology is changing all the time. Most industries can't say that. A hammer hasn't changed much since its invention. Devices to capture a still image or record one moving, and all the accessories that are invented on a daily basis are improved every day. I get to try out these new systems and get help from the best gurus from Canon, Nikon, Sony, Panasonic, Leica, and also LYTRO! Just today I got an email from Joe inviting me to an exclusive Canon event. Anther great aspect is the customers I meet. I stay on my toes to help those beginner photographers get the right camera, fix their problems, and get ideas on lighting set-ups. But I also meet professional people coming in to get gear as well. Just a couple of days ago, Adan Van Dam, Las Vegas based film producer/director visited the store and I got to learn about his 4K BlackMagic full frame rig. So don't restrict your universe to just the gear you know. And surround yourself with and learn from other great talent.

5. I like to experiment and take chances. I know that every endeavor I take won't pan out. I'm okay with that. Sometimes I lose money. Sometimes, all my efforts are wasted; but are they really? Every time I do something that doesn't pan out, its really a learning experience. I can honestly say, I learn some valuable lessons when I get screwed over, lose an opportunity, or otherwise fail. I learn how to be wiser with my selections on who I deal with, prepare better, and thus protect myself better from unfortunate events. Learning these lessons early on help keep the ripples from these mistakes small. I don't mind small mistakes. And catching them early keeps the big ones at bay. So learn to play and don't be afraid to fail.

I could list several more, but this post is getting long. To add 3 more, persistence despite rough times, doing your own personal projects, constantly looking at other great work, teaching photography, and traveling would be key elements that definitely aid in my ability to stay locked in on photo. In all these years, photo has never been a dried up concept for me. And you know...another great motivator is that if you're good enough, people will pay you to keep doing what you do. So.... Amazing, isn't it?

11 August 2021

Use a New Location to Help You Regain the Passion!

Interesting Locations - Art Model, Susan

Sometimes you just have to get off your ass and go. I'm still harping on the "Regaining the Passion" that I started earlier with "Why You Should Shoot for Yourself More Often". I followed that with an article on Flash and then again with Ambient Light as some easy alternatives to help you blow on those embers that could ignite your photo passions again. LOCATION is what I wanna cover at the moment. Why? Cuz its easy. You simply get your ass up out of the house and go someplace with the explicit and direct intent to photograph something.

Urban
Sometimes people will tell you to start in your own backyard. Nah. Not good enough. You are still too comfortable in your own house, yard, or neighborhood. I don't see that as "blowing on any embers". To fan the flame, you have to go beyond, but you still need a place to start. Downtown is okay as a beginning point if you like. I lived 12 years or so in Las Vegas, so downtown is the Las Vegas Strip. Or so you might believe! Actually, downtown is FREMONT STREET! It's a little different but yet similar to the Strip. A different kind of folk walk those streets and a many of characters will present themselves for your photographic pleasure.

But there are still other urban areas in Vegas and you have them where you live too. Well, unless you're living out in the sticks, in which case you might have a further drive than most. Street Photography can be the thing you need to rejuvenate and get a fresh start in photo again. Look up some examples of popular street photo work. Not to necessarily copy or emulate, but rather to just see what the possibilities are. Walk around first before you even pull your camera out. Observe. Listen. Smell. See the potential scenes that lie before you. In the Army, as we'd begin our patrols, we would stop a few hundred meters in, take a knee and become familiar with the sights, sound, and smells, of the environment we were about to immerse ourselves in. We called it SLLS, or sills. It's the same thing here. In this case, it can help you see and anticipate events that might be developing and thus better prepare you to capture that decisive moment. This can make the difference between THAT shot and JUST ANY OLD shot.

You can pick a theme to help you focus and look for something. Shooting the homeless has been very popular, but I find that to be a tough one sometimes, personally. Photography fundamentals and principles still apply. Look for and utilize shadows, repetitious and geometric shapes, reflections (in windows or puddles), or maybe practice a theme of minimalism. You can also change your perspective a little. Everything doesn't have to be done from an eye level! Get down! I mean it. Get low to the ground and see the world how a dog might view it. Or change it up and shoot from above and get a bird's eye view of things. Just do something differently or unexpected, so things don't get predictable or boring. You may do photo for yourself, but you still want others to see it. Show them something fresh.

Art Model, Mary

Out and About in Nature

I can dig some urban, but now we're getting into my scene! The woods! The desert! The mountains! As well as the BEACH! Natural surroundings appeal to me most. Especially spots where I have to get off the beaten path a bit. Over the last three years, my ongoing travels have taken me through Central/South America and now Vietnam. Seeing new things in God's creation can heat up the coldest of passions and make it blaze. I've been to spots that make you want to put down the camera and just keep that vision all to yourself. If you can, bring a friend along whose company you enjoy OR somebody who knows the area and can be a guide of sorts. It's not always fun to get lost ( though sometimes it can be!). I can't tell you how many people I've taken out into the boonies... who have lived nearby all their lives... and yet had never previously seen the beauties that Red Rock has to offer. Or Lake Mead, Valley of Fire, or either of the hot springs near Hoover Dam at Goldstrike and Arizona. All these areas are within a hour of Las Vegas.

Art Model, Mary

You'll have to find out what appeals to you in these natural settings. For me, I can say a good, unique landscape vista is what I find most captivating. On the other hand, you may be more interested in the wildlife or birds. Photographing big horn sheep will be vastly different than photographing hummingbirds or egrets, mainly in the lens choices. You'll need some telephoto action, but you don't have to have as fast of a lens as you might with hummingbirds. Flowers are highly popular to shoot. Again, lens choices come into play. If you like to shoot a field of wildflowers, a normal zoom or better yet a wide-angle lens would work. However if you're wanting to get close enough to depict the petals and stamen of the Angel Trumpet flower, then a macro lens is your best business. You may also need to be on a tripod in many cases using a remote switch/cable release.

Go Out at Night

Art Model, Anne

Whatever you do when you are out in nature, do it again only this time, after dark! Venture out to the same place and see what adventurous landscape shots you can find. If you have a model, try some unique lighting and poses with the stars in the background. Okay, so it's a bit more work. You'll need a tripod and likely a source of light, but that can be a torch, headlamp, or the moon! An 8-second exposure will give you good illumination on a decent full moon. You'll need longer if all you have are stars. But still... that can equate to some excellent landscape work. Practice your Milky Way shots, or maybe time-lapses.

Art Model, Covenant

Make sure you consider the area you visit. Safety first! Have a friend with you or at least let someone know where you are going. Try camping in a state or national park near you. I didn't grow up visiting many national parks, but I did explore the woods around my house as well as some much further away. Read up on the area you wish to visit and educate yourself about the fauna and flora that could pose a danger. Be conscious of the weather! Avoid areas and seasons that are prone to flash floods. Carry the appropriate gear, water, and food you need to keep you warm, dry, safe, and comfortable.

Book a Flight

Art Model, Trixie

You're not gonna do photo without spending money. So either come to terms with that notion or take up treasure hunting with a metal detector on the beach. Some people find that very soothing and quite rewarding. Ain't no shame in that. Photo may not be the thing for you. Me...? I just want you to be happy. Get a camera, take some pics. If you find that it's not for you, take up dance lessons. But my purpose is to holla at you about photo, so that's what I'm about. It's all about choices and what you choose to prioritize. You can make getting that new car stereo for $600 your priority if you so choose. You can also get a new wide-angle lens for your crop-sensor camera for even less than that.

Granted, you have to do this with a pandemic in mind, so do what's best for you. Book at trip to El Salvador for that same $600, and forgo the car stereo. I'm not asking you to go somewhere you can drive to. I want you to book a flight somewhere at that you've never been, preferably out of the country and do it specifically to shoot photos! Get a passport and go! If you can't leave the country, pick a spot within YOUR country that you've never been to that is 100% unlike where you are now. Fly there with the resolved intent of shooting. Whichever will be the more rewarding experience... that's what I want you to go for. Now get to it. You can do this.

Art Model, Emma

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