Why We Don't Show Everything

Art Model, Leslie

This question first struck me several years ago. I think it was adding a new hard drive or doing something with my backup drives and came to realize how much art nude work I have that has never seen the light of day... or maybe the light of a backlit LCD screen, as it were. I've shot so many models doing maybe 30 to 70 edits per shoot and less than 15 to 20 of those ever been exhibited, get seen on my blog, website, or social media. I may not ever get exhibited in my art... for whatever reason.

Additionally, the model/client may not see EVERYTHING I shoot. They WILL, however, see everything I edit, even future edits, if I go back over them months or years down the road. But there is also much of that work that won't make it to the public arena for a myriad of reasons. I'll edit a shot. The model/client will get a copy, certainly. But there will be several that look good, but not make the cut.

Art Model, Leslie

The thought hasn't really passed my mind so much in recent history since I have been on my travels. I closed down my studio in November 2017 and sold or gave away everything. It came forefront to my mind again recently when I recently read an article where a photographer willed his assistant all his work and negatives. She talked about having so much of his work that he never printed, exhibited, or showed anyone. I'll have to find that article again and do a blog post on it. For the life of me, I can't recall the photographer. 

But anyway, I can relate to that. I am not a photographer who takes a million pics and then let the client go through them all and pick out what they want to keep. I've never done it. I can understand accepting that concept in a studio environment. Or maybe in sessions where you have a particular shot list and you have to hit a certain look. In all my work and time in studio, I get a general idea of what the client wants and I shoot with that in mind. The more specific the better. Other times I am the one with the photo concept. And we're speaking strictly in terms of photographing people. This won't be the same with product photography or interior design/architecture photography. I've done those too. 

Art Model, Leslie

High Volume Sessions

When the mood is right and the light is bright, therein lies the magic. I'm not talking romance... rather synergy! Sometimes you get with a model and y'all just click. She'll get into a pose that you have in your mind, JUST before you ask for it! Or better yet, hers is better! Maybe there is an atmospheric phenomenon that feels like God has ordained and blessed that collaboration. Or sometimes, it's just the opposite, but it works in your favor anyway. 

It's hard to put the camera down, in moments like that. You'll both lose track of time and the hours have clicked away unbeknownst to either of you. You notice it getting dark, but it's adding drama and mystery to your photo session so you keep shooting. Before you know it, you're 2000 photos in on what should have been a 300-shot photo session. I shoot, on average, about 100 shots an hour. I know other photogs who will triple or quadruple that. But that's generally my work rate. All those images will not get edited! Ain't no photog got time for that! You take the best of them and roll!

Art Model, Leslie

Duplicates

I'll often shoot like a sniper. One shot. One kill. But even doing that, I may get a few variations of the same shot with slight adjustments on the pose, lighting, point of focus, or depth of field. And then amongst those, I'll pick one or two. Every single look won't make the cut. Duplicates might be good for a revisit later on with a new edit, inconsistent with the main body of work where it stands on its own.

Bad Shots/Experimental Shots

Believe it or not, sometimes my exposure is off. It happens! Or sometimes the model's eyes are closed. It could be that I just want to try something and will add in a prop, take the shot, and then realize it looks stupid. No problem. I'll take the shot the correct way. The rest can just take up space on my hard drive. I RARELY delete anything. I do! But once it makes it onto my computer, it usually stays. I have less problem deleting a bad shot in camera. Particularly if I need to save space on the card. In some cases, I've been known to revisit bad shots and play with them. See what can happen. Maybe after a few years, I get a new editing tool that makes that bad shot a potentially good one.

Professional Pride/Self-Respect

In more cases than not, if you're hiring me or collaborating with me, it's because you like my style of shooting and want to be a part of it. I like my reputation as a professional and as an artist, I simply don't ever want a bad shot to see the light of the public eye. I take pride in my work and I want it hanging on the walls for people to admire, judge, critique, or even make fun of. But it begins with me! If I don't like it, I can't let it out. Because once I put it out there for the world to see, it's going to be judged. And as long as I can remain true to myself, then I let judgements fall where they may. I can accept that and learn from it. But I don't want to put out bad work when I know better. 

Art Model, Leslie

Photography is Amazing!

 

Art Model, Jenny, Peru ©2019 Terrell Neasley

“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, since 2005. At any given time, its easy to get bored, burned out, or just simply tired of a profession, industry, or business of some sort. It's 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 Armed Services, we were 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 life 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.

Art Model, Jenny, Peru ©2019 Terrell Neasley

I can't say its like this for every photog I meet. I have met quite a few whose 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 till 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 this thick black line that goes all the way across the bottom of my picture?" Its a result of using a shutter speed higher 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.

Art Model, Jenny, Peru ©2019 Terrell Neasley

“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 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 partnered with one of the attendees of my group, Garrett Winslow, to 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 by sharing my knowledge, but also from increasing my knowledge with mentors like Dave Rudin and Dave Levingston, 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 every other one was failing, turned it around and this store not only survived, but thrives. Joe has helped me immensely in my own business operations. Working in a camera store gave me the ability to tap into a knowledge base you won't find anywhere else. I was there part time, but I learned about every new camera system that came out. Technology is changing all the time. So don't restrict your universe to just the gear you know. Surround yourself with and learn from other great talent.

Art Model, Jenny, Peru ©2019 Terrell Neasley

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, how to prepare better, and thus better protect myself from unfortunate events. Learning these lessons early on helped 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 a few more... 

• persistence despite rough times, 
• doing your own personal projects, 
• constantly looking at other great work, 
• teaching photography, 
• and traveling 

... would all 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 get good enough, people will pay you to keep doing what you do. So.... Amazing, isn't it?

Art Model, Jenny, Peru ©2019 Terrell Neasley

What Camera to Buy Right Now for Beginners? Yeah, See Here's the Thing...

Art Model, Viki Vegas

“It is an illusion that photos are made with the camera… they are made with the eye, heart, and head.”  

-Henri Cartier-Bresson

Let me start of with this, there is no such thing as a Camera for Beginners. There is only ever the Camera that you NEED. That's what you go on. But for the sake of this topic, I'll buy-in to the notion of a beginner level camera. That being said, I'll concede the concept of Entry-Level Cameras. I know... am I quibbling over semantics: beginner vs. entry? Well, hell yeah. Entry level describes the camera, not the consumer. It is usually a base-model thrown in to get attention for the people who just want a decent picture. Okay, maybe that is what a beginner needs. 

Nah, screw that! I do not concede and here's why:

You may be new to photography, that's okay. And it doesn't mean Entry-Level is for you! I've been teaching photo for years. The number one question I get is, "What kind of camera should I buy?" My answer is always the same. You get the camera that you need! Buy what fits the reason you want to take pics and also fits within the constraints of your budget. There has not been a single time in all these years that I have recommended an Entry-Level camera to someone. NOT ONE TIME! I do need to qualify that a bit in that I've been asked to recommend one Entry-Level system over another when those were the only options. That's the only time.

Here's the deal. If money is not an obstacle and you are not concerned with practicality, there's a good chance Leica will come up in the conversation. Leica cameras are the opposite of Entry-Level. But you can start with them if you can swing that price point. I've sold them to first-time users who wanted to have a camera that not only took pics, but also made a statement. However, being more reasonable, if you ask me what you should get, the first thing I'm going to ask in reply is, "What do you want to take pictures of?" And that is where it begins. 

Art Model, Viki Vegas

In all likelihood, it's going to start with lens choices. Say for instance you tell me you love bird watching and it just so happens that you are traveling to Costa Rica. Does camera come into play? Not at first. You have a lens requirement. You likely need super telephoto capabilities. The camera might come into consideration because of WHERE you are going. Entry-Level cameras aren't traditionally made to be durable. The are generally plastic with no weather sealing. If you are traveling to Costa Rica, you may want to pay attention to the humidity and the probability of heavy rains. The lens won't mean a thing if you can't keep moisture out of your camera. You need something that can keep the electronics inside dry. 

If you are a grandpa wanting to take pics of the babies eating up the living room carpet, then your needs are not that demanding. An Entry-Level system isn't too complicated and there is not a need for anything specific. Chances are, the camera will sit on a shelf for most of it's life as the cell phone proves to be more convenient. You don't really love photography for the sake of photography. You just like good pics every once in a while. You're not trying to learn something new, grow and develop lighting skills... you just want to fill the picture album like your Nana did for you as an ankle-biter. In this case, an entry-level kit, (camera and the lens it comes with) may not be a bad option.

There are a lot of used systems out there if budget is an issue. You can still get a good camera and lens if you're not sure if you'll stick with photography long enough to make it worth a brand new camera investment. Buying used gear is an excellent option. Renting is another possibility, either from your local camera shop or from online businesses like BorrowLenses.com or LensRentals.com. If you are torn about whether to drop some serious cash on a new system, rent the camera system before you buy it. See how you like it. Either way... buy new, buy used, or rent... you need to be aware of your primary considerations.

Art Model, Viki Vegas

“The camera is an instrument that teaches people how to see without a camera.”

– Dorothea Lange

Think about the Lens first.

Lens choices address the needs of photography faster than most those of the camera, (unless video are the primary goal). The lens is first described by it's focal length and those usually come in these categories: wide-angle, normal, telephoto, and super telephoto. You can throw in Macro, tilt-shift, and ultra wide-angle, as well if that's that's what you need. However, the first 3 mentioned focal length perspectives are going to cover about 90% of shooter needs.

I deleted 4 paragraphs that go into describing lenses and things you need to consider. But that's making this post too long. Instead, check out my previous post detailing much more material on that matter here: => "Getting into Photo, Part II : The Lens".

Art Model, Viki Vegas

And then there are camera considerations.

First consideration that everyone looks at is megapixels. But in all honesty, it really doesn't matter! Most digital cameras now come with at least 24 megapixels. For 90% of you, it's more than adequate. But depending on what you want to do, maybe more is necessary. The more important the detail, the greater the need for a higher MP camera sensor, but 24 is damn good. Full disclosure... I am a megapixel nut. There. I said it. 

Durability is also a factor. Will your camera be subjected to rain, dust, and high/low temperatures? Can you reasonably expect it to get banged around a little bit? I'm not talking about being dropped. That sucks for any camera. No matter how careful you are, if you're going into harsh environments, the camera is going to take a beating. I'm very careful with my gear. That didn't mean squat when some rednecks in a big white Ford pick-up started doing donuts and belching exhaust as I was doing a photoshoot in a dry lake bed. I was shooting with 3 studio lights (on battery packs), softboxes, and at the time, I didn't see a need to shut my camera case with all my gear in it before those bastiches came flying in with their monster truck. And then they took off. Dusty gear and dusty models. At the end of the day, I was just glad they didn't run over anyone. The point is, your camera needs to be able to stand up to unpredictable situations, accidents, and unforeseeable circumstances. 

Size Matters! This is what I've found. The bigger the camera, the less you shoot with it. Chances are, if you're not making money doing this, you'll keep that big camera on the shelf as something nice to look at, if you start out with a large, heavy system. You'll opt to using your cell phone more times than you would think, especially if you have a really nice phone. For damn, sure look at mirrorless cameras. No need to go DSLR and lose out on all those advantages. Pretty much all camera manufacturers, except for Pentax are leaving the DSLR in the dust. It had a beautiful run, but now it's watch has ended.

Art Model, Viki Vegas

Other than cameras and lenses, consider these other accessories. Tripod! Just friggin' get one. Not a cheap flimsy one, otherwise what's the point! Get a cable release to actuate the camera without you having to push the button. Have a comfortable neck-strap. Don't get sold on anything gaudy, I mean... come on. All you're trying to do is take the pressure off your neck. Invest in a good, convenient bag. Shoulder bag, backpack, or sling bag... depending on how much gear you'll have with you. And that doesn't just mean camera stuff. Gonna be out all day? Pack a lunch. Bring water. Have some drybags in case it rains. Purchase extra batteries and storage media, probably more than you think you'll need.

Check out more from my previous post about cameras here: => "Getting into Photo, Part 1: The Camera"

So yeah... think about these things when you're ready to get a camera system. Personally, I'm still a Sony guy. And I still like Fujifilm cameras. If you can spend on a decent system, a Sony a6500 with your choice lens selection, will likely fill all your needs. A Fujifilm X-T2 or newer will likely do the same. I had a Fujifilm XE-2 and I can't speak enough how amazing that camera is. It was repeatedly submerged in the Pacific on my back, cuz I almost drowned, and the camera came back after sitting in some rice for a week. Amazing pics with that thing. 

Study up. You have no shortage of options. 

Art Model, Viki Vegas

Naked and Silly

Art Model, @Kayci.Lee, ©2016 Terrell Neasley

“It's okay to be absurd, ridiculous, and downright irrational at times; silliness is sweet syrup that helps us swallow the bitter pills of life.”

― Richelle E. Goodrich

I'm in a mood, I guess. I could use a little bit of silliness. Maybe you can, too. I've been here in Vietnam for 20 months. Lockdowns have just been curtailed and things are beginning to get back to normal again... at least here in Hanoi in the north of Vietnam. To the south, Ho Chi Minh City is getting better, but they were the worst hit with Covid-19. 

Let me just say that Vietnam has managed this pandemic in exemplary fashion. The Delta variant came along at the end of May and changed everything. For more than a year, Vietnam held covid in check. Delta was another story. We went from about 3,300 total cases at the beginning of July to 850,000 today. In hardly 3 months deaths went from 35 to 21,000. Y'all can say what you want, but I'm watching the measures they take to curtail this virus and their response to this pandemic been extraordinary, compared to most places in the world. It took 3 months but they even got control of Delta. Vaccines finally began rolling out and numbers have plummeted. Good government and good citizens working together and the rest of the world should take notes. 

Art Model, Leslie ©2013 Terrell Neasley

Now, back to my topic...

As things lessen up here, it's hard not to think about going home. As I said, it's already been 20 months. However, this is something I already anticipated. I expected to be gone two years on this leg of my trip. What I didn't expect was being in the same place. Had I stuck to my original plans, I'd be in Australia now, getting ready to make my way to the Islands of the South Pacific. namely Fiji, Tonga, French Polynesia, and The Cook Islands. Quite possibly, my pining for new gear is a result of previous mental programming. I had anticipated upgrading my gear at the two year mark after returning to the US again! 

Now, that's not likely to happen, just yet, but my subconscious obviously doesn't know that. And the camera I want is not even out yet. I'm pretty sure, I'm sticking with Sony gear. I currently rock the Sony a7RII. The Sony a7RV should be out sooner or later and I'm already certain I want it. It had BETTER have a fully articulating rear LCD screen! I don't know if the thing will be 100MP or not. It could be 61MP, like the a7RIV. 

Art Model, Panda © 2011 Terrell Neasley

As I have mentioned before, I have to upgrade both my cameras if I do this. I refuse to carry two different battery types and all the newer systems have Sony's larger batteries (NP-FZ100) in them. My current second camera is the a6500. I love having a crop system to complement my main full-frame body. I've done that for years, every since I was with Canon with my Canon 5DMkII and the 7D. Therefore, I'll have to option to upgrade my crop to the latest one... whatever that will be by the time I get back. Likely a6700.

OR, I could go full-frame for the second camera which in this case, it would be the a7SIII, (which already has a fully-articulating rear LCD screen). Choices, choices. Both those cameras will be about $3500 each. Dang! I'm inclined to have the crop system due to the fact that it gives my lenses some added range. They get magnified by a factor of 1.5 times. That's a great complement, to me. In doing so, I'll have to get a slew of extra batteries, but the each camera uses the same one. In addition to that, I'll need all new, fresh memory cards. Either way, Sony a7SIII or a6700... which also isn't even out yet.

Art Model, Justine ©2015  Terrell Neasley

What else, beyond that? Oh yeah... one more thing. I gotta have that Tamron 35-150mm f/2-2.8 Di III VXD. I've been shooting prime lense during this whole trip. Now I think I MUST have some range in my arsenal. Currently, I shoot with a 35mm and a 55. That's it. I left my 90mm Macro stateside. I sold my Sigma 24 1.4 and picked up the Tamron 35 2.8 macro. I lost speed, but regained macro capability. But this new Tamron is right up my alley in terms of range. It's not huge, but it's also giving me 150mm at f/2.8. On a crop sensor, that 150 turns into a 225mm, (still at 2.8)!

Whenever I do return to the US, I won't be there long. I'm still on this mission! I may return to Vietnam again or continue on where ever they'll let me come visit. Cambodia, Thailand... it all depends on several factors. But if I get my way... dang. I'm gonna come right back here. I'm not done with Vietnam!

Art Model, Chloe Ann ©2017 Terrell Neasley

Art Model, @Kayci.Lee, ©2018 Terrell Neasley

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

Why You Should Shoot for Yourself More Often

 

Art Model, Melissa ©2008 Terrell Neasley

"The man who has no imagination has no wings."

~Muhammad Ali

One of the long-standing principles to personal financial stability and wealth creation is the notion of "Paying Yourself First." I like it. It basically speaks to saving money or putting some aside for retirement before you even pay bills or anything else and in doing so, the rest of your business will take care of itself. Developing the habit of paying yourself first is a good discipline that also builds into it the habit of being responsible and taking of everything else as well. Let me give you three good reasons to shoot for yourself, first.

Cultivate the Imagination

I don't think you will ever be as good as what you can be when you create using the resources of your own imagination. I didn't say you wouldn't make as much money. It's easy to jump on the bandwagon and follow the latest trends in photography. You can make money or get LIKES that way, for sure. A line of potential clients are readily at your door asking you do to something they've seen somebody else do because it looks cool. 

The latent possibilities that will net you the greatest fulfillment however will be in those original concepts that you derive from your own imagination. These are the culmination of all your years of training and preparation that come together to mix something new in your reservoir of ideas. My clients have been all the more satisfied when I presented them with alternatives for original content and concepts that better fit their ideals. The more you do it, the better you will be at achieving this goal. Cultivate your imagination. 

Art Model, Melissa ©2009 Terrell Neasley

Experimentation

Time is always of the essence it seems. You get a client gig and the expectation is to produce and render those results now. When do you ever have time to experiment, try new things, or sometimes shoot just to see what happens? You become stagnant when all you do is the same old, same old. You never know where you will find your new treasure. Venture out into new areas and genres of photo and just see what you can do. This doesn't mean you have to jump into subject matter you hate...just something different. If you don't like shooting sports, or fashion, then don't. But you can rent a new lens and play with some macro work. Find a friend who can borrow a light modifier from and play with it in new ways that maybe it was never intended for. Or better yet, see if you can create your OWN lighting. I made my own light wand with red and white light using cathode ray tubes and a battery pack, all attached to a monopod.

These are things you can bring back to the table when you are in negotiations with a client and he or she's looking for that new "fresh" look! That thing that no one else has. Something they've never seen before. But more importantly, think about the sense of fulfillment that you'll garner when you surprise even yourself by discovering that new thing almost by accident. Odds are, you will not make these discoveries shooting for someone else. No one can push your imagination like YOU can. Slow things down by limiting yourself to 50 shots or less. Shoot from a single focal length like a 50mm prime. Change your angles and shoot from either a high or low perspective. Regardless, change it up. Work outside the norm and the comfortable. Experiment!

Art Model, Melissa ©2009 Terrell Neasley

"I saw the angel in the marble and carved until I set him free."

~Michelangelo

Counter the Effects of Burnout

Don't lie to yourself. You get tired of working for someone else, sometimes don't you. Ever want to just escape photography all together... even just for a little while. Personally, I don't understand it but I know in other jobs I've had, sometimes you just need a break. In photo, that should never happen but I can see how it might come to pass. You spend all your time shooting for others that you simply get burned out. This is less likely to come about if you spend sufficient amount of time shooting for yourself. Make your own work the priority over shooting for someone else. Pay yourself first. Shoot for yourself first. Much like they tell you in the airline safety message, in the event of a decrease in cabin pressure, put your own mask on first BEFORE you help someone else.

Art Model, Melissa posing for figure drawing session ©2009 Terrell Neasley

Keep yourself healthy and in good shape and do the same for your photographic mind. Keep it sharp and exercised with new activities and fresh ideas. You, therein serve yourself AND your clients by staying fresh. You'll definitely be able to see better when your mind is renewed on a continuous basis. Mental fatigue is murder to the mind of a creative. Stave off that fatigue by doing your own projects. I could as easily add a fourth good reason: PROFITS! The better you get a feel for the industry, your trade, and your capabilities the better you know how to create your own projects and then market them via social media to your own benefit. This can be work that you eventually sell, or use it as an opportunity to showcase your wares. Either way, you can make money if that is something that is important to you. In any case your limits are self-imposed. Lack of gear does not create a ceiling for you. Its not the absence of promotion of exposure that shackle your ability to grow. You are bound to this world today by gravity, but it is your imagination that allows you to reach escape velocity and venture to the stars.

A Mildly Complex View of a Few Things You Can Do LESS of to Get MORE - Update

 

Art Model, Susan ©2013 Terrell Neasley

"It’s not the daily increase but daily decrease. Hack away at the unessential." 

 –Bruce Lee

Check this out. I wanna cover a few details of some things of note that I believe can help transform you into a better shooter. It may not make sense right off the bat, but stick with me. I think you will be helped by do LESS of these things:

Ignore TV... Less!
What you see on TV is the final product of someone's content creation efforts. You can learn a plethora of information by observing what images made the final cut. Check out all the lighting schemes, posing, and final edits that you see. How effective do you think they were? What message do they convey and how successful do you feel they were at getting your attention at evoking an emotion in you to act on whatever they were selling, promoting, or entertaining you.

We often times get left in the dust with recent trends. TV gives you an idea of what some of the latest technology is doing and how its being creatively implemented. You succeed when you can begin to backwards engineer what you see. Figure out how its done and get ideas on what techniques or best practices you can employ in your own work. At the very least, you can see what the everyone else is doing and how you might differentiate yourself. Know what's happening around you and do something different. You don't always have to follow what the latest favorite is doing. In fact, I highly recommend it.

Art Model, Susan ©2013 Terrell Neasley

Watch TV... LESS!
All to often, the thing that can hamper us most is Television. We'll have at least 3 TV's in the house to keep us updated on our favorite shows, like the Walking Dead, Game of Thrones, or Dragon Ball Super. People can go nuts over these programs. Sheesh... Back Away From the Idiot Box! I say that in jest, but don't get caught up in TV, too much.

If you can back away from some of the ad-laced content for a while, check out a book on photo for a change. Learn about some new night shooting techniques. Go watch an educational video on Lightroom. There are plenty of free stuff out there, but I'm sure you've heard the old adage... "You get what you pay for". Maybe try a paid subscription service to up your game a little bit. I've always advocated pulling out your camera's manual and familiarizing yourself with features you had no idea existed, right there at your fingertips. And then go practice with it.

Study... LESS!
Here's a new one. Get your head out of the books and go SHOOT! Study long...Study wrong is what my Uncle Sly used to tell me when playing basketball. The more you contemplate your shot, the more likely you're gonna miss it. Never more true. Paralysis by Analysis. There's only so much you can fill your brain with at one time. Most of the time, what you really need is to put the books down and go pick up the camera and just shoot! Experiment. Who learned to ride a bike with a book? What person researched the mechanics of swimming before jumping in the water? Some things you learn by doing.

Yes, some research, study, reading, and observation is good for us. But at some point, you have to put it all down and let your mind and muscles work together with repetition and effort to finally learn something new. Go shoot! I can't emphasis that enough. Studying something too long is a huge contributor to procrastination. I know for fact this is speaking to some of you out there. Its time now to put to practice some of the brilliant things you've learned. Go for it.

Art Model, Susan ©2013 Terrell Neasley

"Simplicity is about subtracting the obvious and adding the meaningful." 

–John Maeda

Shoot... LESS!
You got that right. Shoot a whole lot less! I've worked with some students that I tell to shoot MORE. The vast majority of you, however, should shoot LESS. This is one case where LESS is truly MORE. The spray and pray concept of photography is only applicable in sports and other jobs where capturing the decisive moment requires advanced anticipation and a fast shutter. Shooting at 14 frames per second to capture the money shot of Russell Wilson escaping the clutches of a NFC West defender showing the look on the guy's face as that split second passes where he KNEW he had the sack, then nothing but air. Yeah...you can't try to time that shot and expect to get anything. No way. You select the drive mode for Hi-Continuous and you roll like Rambo.

When you come back with 30,000 images from a weekend camping trip, just know that you have a problem. Stop friggin' shooting so much! If you want to immediately have an impact on better photography, shoot less! Limit yourself and become more selective about what you are taking a picture of. And there's no need to get 12 versions of the same shot. All you're really looking for are a few good shots that tell the story or deliver the message. Personally, I'm a 10%er. It roughly averages out to editing a tenth of whatever I shoot. I come back from a gig with 300 images...I'm netting about 30 edited shots. I believe I usually shoot about 100 shots an hour when I'm doing constant shooting. That means I'm on a gig or have a photographic purpose in mind and when I'm finished shooting, I go home. So that's different from going on a day trip with my girlfriend and we're on the road for 15 hours. I may only come home with 200 images total because we are shooting, but we're also hiking and exploring and shooting between locations.

Art Model, Susan ©2013 Terrell Neasley

It saves you some time having to cull a million shots, but more importantly, WE DON'T WANT TO, NOR DO WE HAVE TIME TO LOOK AT EVERY-FRIGGIN' SHOT YOU TOOK! So just calm down a bit. Play the roll of a sniper instead of Machine Gun Freddie. Take some time to look at your composition and understand what makes it a good shot vs a snapshot by a tourist. You didn't buy that expensive camera to come back with the same kind of shots you've always been taking. Get to know the camera. Take if off automatic and get creative with it. Shoot less, but maybe more often. How's that for a compromise. Now, you have some things to mull over. Get to it.