PHOTO ANTHEMS BLOG

06 September 2013

Photoshop World, Day 2

"You see something happening and you bang away at it. Either you get what you saw or you get something else--and whichever is better you print."

~ Garry Winogrand

Day 2 started of much like its predecessor...An Early Morning! I learned some interesting techniques and completely new Photoshop applications working in video and animation. Corey Barker taught Creating Motion Graphics in Photoshop CC and it was a blast. Not saying I mastered ANY of it, but I know its available to me now, so that's cool. My next class, which I won't name, was a dud for me. I mean, utterly and complete. I then went on to some more masterful techniques in Compositing with Joel Grimes. This guy is definitely a guru in artistic composite work. Most of his is simple portrait on a blended background, which is the way he likes it. I think I'd like to push it a bit more. The guy is a masterful educator. I ended up taking another class with him that I finished my day with.

Art Model, Leslie
©2013 Terrell Neasley

But then there was the next class for me which was sort of duddish. I got nothing. I tried to sit through it more out of respect and appreciation that he came to help us improve our work, but I think I got 40 mins and simply had enough. That happens sometimes. You just don't gel with an instructor. However the surprising element to me was that I did not enjoy his work! We saw some of the images he's made over the years and it was boring to me and almost unimaginative. This guy has made a lot of money in his career and has been hailed and lauded for his vision. I just couldn't see it. But that leaves me questioning what that says about me. Granted, I know what I like. I know what inspires me. His and he did not, I'm sad to say.

But then came redemption. My next class was with Richard Harrington and he covered Digital Publishing. Excellent, excellent work. He told it like it is and entertained us as well. I thoroughly enjoyed his class. If that name sounds familiar to you then you've taken my previous advice and subscribed to the Photofocus podcast, which he now hosts. I've described the Photofocus blog and podcasts as must-do sites to visit a couple times on this blog. But let me just reiterate. If you are a photographer and do not have that blog faved or have subscribed to that podcast, you are wrong...plain and simple.

"You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter."

~ Garry Winogrand

At this point we broke off into the Expo session which lasted all afternoon. Vendors and sponsors show and demonstrate their latest wares that help you in various aspects of your photographic trade. You can come by and visit me and my crew at the Now I Lay Me Down To Sleep booth #237.

But the day got even better. Get this... my next class was Pricing, Negotiation, and Selling with, who else but Scott Borne. Scott Borne is the celebrated local photographer here in Las Vegas. I'm pretty sure he's the biggest name here and he is responsible for starting Photofocus in the first place. This was my first time to actually get to meet and talk to him and after listening to his voice practically every week and checking out every blog post, the man in the flesh did not disappoint. He was hilarious, but had some of the most practical advice I've ever had. Some of it was a reminder. One thing he asked us to do is read any and every Zig Ziglar book we could find. I've read several and need to reread them. Its been quite some time. Zig Ziglar came to my high school one year and I was impressed beyond belief. No doubt, I benefited most with his class and as I mentioned previously, I finished the day with one more Joel Grimes class on Photoshop techniques. Great day.

05 September 2013

Photoshop World 2013

"I want the viewer to look into my images and see a new world with new rules."

~ Brooke Shaden

I don't think I've ever posted about my convention or trade show attendences. I've only ever done WPPI and Photoshop World on a regular basis. Today is day one and it was a good day, complete with one learning from one of my favorite instructors, Julianne Kost who is the most brilliant mind/guru of Photoshop and Lightroom I've ever seen. Her dry, yet witty humor keeps you entertained as you unconsciously learn something of value. Before you know it, she's having to cut things short because she's running out of time. I try to get at least one of her classes as a rule. Brooke Shaden spoke during the opening keynote. While Julianne Kost was the most entertaining, I gotta give props to Brooke Shaden for being most inspirational. This little bitty spitfire got up on stage and in a soft, but spirited voice and laid down an air of possibilities that left you wondering what you could do if you cast aside fear and conforming rules (sound familiar) and did what you wanted to do.

Art Model, Emily
© 2013 Terrell Neasley

It was sort of a toss up this time. There are two things I usually want to focus on when I come to these trade shows. One is Photoshop techniques. I had to start out learning Photoshop on my own with a bootleg old copy of PS7 that was given to me when I first came to Vegas, while I was still doing film. It was strictly trial and error. I mean, STRICTLY trial and error. There weren't as much in terms of tutorials on the web as there are today. But it was quite the trick to learn the different tools and what layers were. I eventually got a book to help me.

Art Model, Emily
© 2013 Terrell Neasley

“If I saw something in my viewfinder that looked familiar to me, I would do something to shake it up."

~ Garry Winogrand

My breakthough came from my first Photoshop World convention. I only attended the free trade show, but when I saw an exhibition of the Nik Silver Efx, I was hooked. Why? I had seen other black and white plug-ins at this point. And I could convert to B&W in Photoshop too. What made Silver Efx so special? Well, I'll tell you. It was the first piece of software that I had ever seen that came so close to the actual darkroom. It aided me in my conversion to digital photography. Before Silver Efx, I just couldn't get the rich black tones that I had with silver-halides in photographic paper brought out by chemicals. It was simply unmatched. The burn and dodge techniques were not mimicked in any other software so well. Masking, which I sucked at in Photoshop at the time, was made more simple with Nik's U-point technology. And on top of all that, Silver Efx, was also the best at simulating the different brands of pro-grade B&W film I used...principally, Kodak TMax 100 & 400.

Art Model, Emily
© 2013 Terrell Neasley

To learn that Nik had several more editions such as Color Efx, Dfine, and Sharpen only cinched it for me. But I learned all this at my very first Photoshop World and its always been a blessing for me every since. Sometimes its learning of a new vendor to process my photos. Sometimes its learning a new post-processing workflow that is much more efficient and effective. Other times, I get educated on a better business practice, such as back-up techniques or copyrights management. One thing I don't really go to Photoshop World as much for is photographic techniques. They have some great lighting specialists here for sure and other tips on improving your photography. I think they are great, but its much easier for me to get photo tips. I can manage that from anywhere.

This year, my focus has been more on the Photoshop end of things instead of the business side. So these are the classes I've been taking as of day 1: Compositing with Julianne Kost, Smart Objects with Dave Cross, and Commercial Post Processing with Jim DiVitale. Days 2 and 3 are a bit more tricky as to my choices, but I will figure it out. Photoshop and post-processing classes have the priority and I can choose 6. Thursday is the longest day and we finish up on Friday. Should be good days ahead.

31 August 2013

Speaking on Prints and Conformity

"The reward for conformity is that everyone likes you but yourself."

~ Rita Mae Brown

Incredible Art Model, Panda
©2013 Terrell Neasley

I've advocated the print for some time on this blog and it is still a big point of contention for me as a photographer. I love the print and believe it to be the end all to all ends. It should be the final culmination to an effort of composition and capture. Its been estimated that humans have taken roughly 3.8 trillion photos throughout all of photographic history. Since the advent and proliferation of digital cameras, prints have declined. Most images never even leave the computer and of those that do, Facebook, Flickr, web portfolios and other online media have been the last port of call to most of all images taken these days. How many actually get printed...couldn't find the stats on that.

What am I talking about when I say, the print? Essentially, it's hard copies of the images you take with your camera. Photo sharing is the mainstream now and most devices available to us are not built for the print. Everybody, including their mama's mama has a cell phone, just about. Nobody's taking these shots to create images to frame and hang on a wall. They are not shot to sell to a magazine, (unless of course you work for the Chicago Sun Times.)

Incredible Art Model, Panda
©2013 Terrell Neasley

And what is the standard for images when they do become hard copies? If you go to Wal-Mart, you can pick up frames in sizes of 5x7, 8x10, 11x14, or 16x20. But what happens when a print is irregular? What do you do? Crop to fit? Maybe. Sometimes I do crop an image to fit these standardizations. More often than not, I'm cropping with the image in mind. I'll compose and take the shot. During my editing, I use my eyes to judge the crop and lately I've been favoring an almost panoramic perspective such as 9x19 and it might not even be exact. It could be 8.72x19.04. The fact is that I like to let my eyes tell the tale and make my crops with the image in mind, rather than the frame. You can always custom build a frame yourself, or take it somewhere to have it done. I love helping clients with the print/framing/mounting decisions.

“Without deviation from the norm, progress is not possible.”

~ Frank Zappa

Incredible Art Model, Panda
©2013 Terrell Neasley

I try to use the same principles in my life, but then again, often I'm not trying...its just the way I am. I've been called "different" all my life. It used to bug the hell out of me and I'd do what I could to try to fit in. But all that did was cause me stress because I was so busy trying to conform to what everybody else thought I should be and do. I think the world is more interesting to me now as I learned over the years that my differences in preferences and thinking made me much happier. Its not always a bed of roses, but I embrace it and take the good with the bad. Normality and Conformity are two words of enmity to me. Conform to the norm? Hate it. I don't fit in that life mold.

I know for fact, this is one reason I like shooting Panda so much. Nothing about this girl says normal or conforming. She's a young mom who loves her kid and husband, that's about it. She got married and has had a kid. That's about as traditional as you'll find her. She's easily top 5 of all the models I've shot and I'm pretty sure I've shot her more times than anybody else. I was very fortuitous to even meet her. Just before Trixie, who was my very first muse here in Vegas, moved away, she threw a going away party. I almost didn't go because I was so tired from working, but how could I miss Trixie's last day. That's where I met Panda, who was a friend of a friend who also got invited. One muse leaves....another one falls in my lap. I had no idea Panda was serious when she first expressed a desire to work with me. She gave me a call that very next morning...early, I might add, and the rest is history. Good girl. Expect to see more of her!

23 August 2013

Tumblr Contemplation

"I revel in my ability to still be inspired by the young! It's like stealing wisdom."

~ Terrell Neasley

I met a girl. [Isn't that how a lot of great stories begin?] I meet a lot of girls. I think you all know that by now. I run into people all the time, both male and female, but today, everything centered around this one chick and she was inspiring. Every now and again, I meet somebody like that and it totally makes my day, despite whatever crap I've been hit with.

So, this is one of my days in the camera store and in walks a girl, then another girl, then a family. She's got on a busy, but cool looking orange and white outfit, very attractive, and she's carrying a camera bag. I know she needs her camera fixed. I'm with another customer at the moment who's asking a lot of questions about some gear he's not going to buy. I'm partially glancing over at the first girl carrying the bag as she pulls out her gear. I notice she's got a Nikon film camera and I'm intrigued. This is a young girl and she's strolling in with film business. I'm impressed. I'm not proud of myself, but I'm wishing this guy asking all the questions would just stop and enjoy his weekend.

So I finally get a chance to see what the fuss is all about, because she's pulling out several sleeves of negatives that the store repairman is mulling through. I can't help myself and have to investigate as well. If you hadn't followed me for long, you may not know or recall that I still have a deep affinity for film work. Black and White was my specialty and my licence plate is an homage to my favorite brand and choice of film...the Kodak TMax. I haven't looked at negatives in quite some time. I used to develop my own negatives and prints. I didn't like developing negatives as much. It was a necessary process that had little latitude for artistic expression. Granted, you can push or pull your fill...maybe develop it at non-standard temperatures, or even cross-process it. But I never liked to destroy or alter the film. Prints, yes. Film, no. To me, the creative process would begin and end with the print! I miss those days. I've often said..."Nothing like the smell of FIXER in the morning!"

So far...I'm just looking at a pretty girl who happens to do film. What gets me, though are the next few things I learn about her. First, and probably foremost, she's a traveler! She gave me some tips on NGO work and had just returned from Pakistan. You know I love me some travelers. "Get gone" has become a mantra of mine. That's how I feel quite often...like I just need to get gone, sometimes. Okay, pretty girl, shooting film, she's a traveler, too...so what else? She doing AMAZING work! Listen, you'd have been inspired, too. I'm not just tripping off of a cute girl. I'd have been the same way if she had a face like (insert well-know not so cute celebrity). The fact remains. She's an avid traveling film photog who happens to be pretty as hell.

And I guess I better say something about Tumblr, otherwise my title wouldn't make any sense. The little lady also gave me a few tips on Tumblr and recommended it. I told her I already had a blog, but she thinks I can still benefit from and enjoy Tumblr. I've contemplated doing a Tumblr as well, but have left the notion in perpetual hang-time in an abstract section of my head. Now its before my eyes again after a long hiatus of consideration and I mull over the idea again. Have I not discussed some alternate means of exhibition of my work? I have, but the intention was to get it off line and in a gallery line. So I'll continue to excogitate this notion with a bit more vigor.

I hope Lil' Miss continues with her emulsion compulsion and keeps posing her work. You can see (and follow) her at Speirs.Tumblr.com. I think you'll appreciate her style and vision. Her tumblr says she's 99% film and her most recently posted shot, Skinnydipping in Dubai is amazing. My most fave of what I've seen of her work has got to be, her Fishing the Old School Way as well as her creative self portrait, Bad Hair Day. There are so may candid and introspective imagery on her site. You'd think they were shot by an old soul, but such is not the case. I'm sure she's not over 25, but it begs to question where she evolved this style from. What were her influences? Granted she's a travels, but these are the shots I would expect from someone with much more experience in life in general.

And last but not least...I gotta give props to my girl, Panda. I'm not sure its possible to get bored shooting her. I think I've shot her more times than any model I've done to date and I still look forward to the next time. Thank you, my Panda muse.

16 August 2013

Leica...You Want what You Want

"Shooting with a LEICA is like a long tender kiss, like firing an automatic pistol, like an hour on the analyst's couch."

~ Henri Cartier-Bresson

Okay...

I know I just did a blog post lauding the Sony systems. I dare say, in all likelihood, the Sony Rx-1r and the NEX-6 will be near future purchases for me. They feel right for me and are very close to the requirements I think I need for my work. They fit well with my future endeavors and can probably handle my needs adequately enough...actually, more than adequately in fact. With a few exceptions, they would be the perfect compliment to my current photographic tools I employ right now.

BUT...

Not long after I did that last post, I had to come to a realization that irks me ever so slightly. You see, I've tried to make it a personal policy, especially where it comes to photography, to not compromise quality and what I want, for the sake of money. If the gear or tool that I really feel will best do the job costs more money, then so what? Make that money back in profitable gigs and earnings. And in no case do you ever settle on the cheaper or economical substitute to that quality. And to be honest, the aforementioned Sony complimentary platforms are just that...a more economical substitute in lieu of what I really want. And what I really want... is the LEICA rangefinder system.

Let me tell you why.

I mentioned in a previous blog posting that everyone needs to, at some point in their lives, fly first class, drive a luxury car on a road trip, and own a Leica. Life is too short not to experience these things at some point. Leica actually makes it difficult to be a Leica owner. There cameras are Hand-Crafted! So it takes longer to fulfill orders. Right now, most all of their digital systems are on back-order! You can't find any of their cameras anywhere right now! (With the exception of the Leica M Monochrome, currently In-Stock at B&C Camera!) But nonetheless, I got's to git it! And I understand, I could be totally wrong in this. There could be a chance that after I am a Leica owner (someday) that I won't be as impressed or might feel differently after a year's results in my work, but I don't think that is going to happen and I'm willing to take that risk. I'm still nostalgic over film, but the images I see made with the Leica have that unique aesthetic artistic appeal closer to how I felt when I used film. This needs to happen. And I blame travel for my obsession.

I didn't feel so inclined to be a Leica owner before I started serious travel considerations, which began last year while I was laid up for 4 months on crutches after my knee surgery. I had time to think about several things and dream about a even few more. Sailing was paramount. I need to get on the open seas and circumnavigate. Doing so with a Leica became the next priority, which has now worked its way up to the more immediate goal, especially after Central America last year. My focus became to return to Central America with Leica systems like the days of old when a photojournalist or explorer might have on his person a single Leica camera, a 35mm lens, and a bunch of pro-grade black and white film. They rocked with this single prime lens and returned with some of the most spectacular images you could imagine.

Today, Leica has two systems that have my perfect attention. Yes, I said two. Not just one, but two!! The Leica M Monochrome which, obviously enough, only shoots Black and White is one of my choices. I do wish it was 24mp with a CMOS sensor instead of a 18mp CCD. But where it comes up short, I'm willing to look the other way...something that's hard to say about any other camera. I didn't switch from film to digital until my standards were met. I switched from Canon to Nikon when Nikon better suited my needs. My point being, I was patient to wait for the right camera and did not jump into anything simply didn't feel right.

The other system from Leica that I am a tad bit more desperate for is the new flagship, Leica M Typ 240 and its what really brought my attention to the Leica brand. Before this, I couldn't really conceive of paying $7,000 for a camera body that wasn't even a DSLR body. But this Leica M had me at hello. It IS 24MP and is the first of the Leica brand to use CMOS sensors. Its also the first model to incorporate 1080p video, but that would not be my priority. This would be the Leica I would start with. I can always convert images to Black and White as I do now. Before the M Monochrome, I would never allow myself to shoot B&W straight out of camera. I don't want the camera making tonality decisions for me. This Leica, however, I would let order food for me in a restaurant.

Lenses are also pretty steep for Leica, but here is where I don't mind making a compromise. Zeiss makes excellent glass for the Leica rangefinder systems and many are half what the Leica dedicated lenses run. A Zeiss 35mm f/2 would run me $1100 as opposed to a Leica 35mm f/2 for $3200. I think I'd prefer one Leica lens and that's the 50mm f/1.4 Summilux for $4000. I can throw it up for grabs on a good wide-angle prime and a good telephoto prime as to what lens I would top off my lens quiver with.

So in other words, I would be out around $20 Grand to get both these cameras and lenses. Is that worth it when I could get into a comparable Sony system under $6K? Will my images be $14 thousand dollars better with the Leica cameras than Sony? Wouldn't it be just as easy to just buy another DSLR that complements the one I already have? You know what? I'm not trying to answer those questions. I only know what the hell I want and the only question that leaves me with is "How do I get my Leicas?"

*****

This is the former flagship model, the Leica M9-P. Check out this video on how its made. I wish they did a promotion piece like this for what I really want... the NEW flagship model Leica M Typ 240.

The Making of the Leica M9-P »Edition Hermès« – Série Limitée Jean-Louis Dumas from Leica Camera on Vimeo.

13 August 2013

The Evolving Photographer

"It's evolve or die, really, you have to evolve, you have to move on otherwise it just becomes stagnant."

~ Craig Charles

None of us can remain stagnant in any of the different professions we work in. It used to be that you could work the same job or within the same company, at least until you were ready to retire and then the employer would take care of you throughout your golden years. That paradigm concluded when the industrial age gave way to the information age and the information age has been getting exponentially faster at an ever accelerating rate. I would wager that Moore's Law has even been halved, as well.

This has never been more true than in the photography trade. The former barriers to entry of the high price of gear and years of apprenticeship have given way to cheaper cameras and a flood of entrants that prefer full auto to learning the trade. Technology has not only leveled the playing field, but dropped it below sea level behind a dam that has cracks.

So what do we do now, fellow photographers? We change, that's what. We don't acquiesce to clients like the photogs who panic and start giving away their work for free. We don't abandon the print in favor of handing over Hi-Res images. But we do change. And that starts with CREATIVITY! Creativity brings back the craftsmanship to photography that we've dearly lost. This is no different of a time than when Polaroid came out with instant film. There was the same level of ire from "true" photogs towards instant film. It was the same with disposable cameras. Well, this is the digital age and its no different. Our clients and the general public are looking for the next evolution in the digital realm to see what we come up with next and its already happening when you look at the inspiring work of Benjamin Wong or Chase Jarvis.

So how do you begin to make that next evolutionary step? You keep learning and stay open-minded. I learn from different sources, one of which are podcasts. Chances are, whenever I'm driving, I've got my earbuds in listening to TWIP (This Week in Photography), hosted by Frederick Van Johnson. Let me just focus on him for a second. Frederick Van Johnson is the owner of MediaBytes, a marketing and consulting firm and he hosts a varying panel of photographers and photo experts who discuss photography news and photo topics of interests. Lately, he has given a lot of focus to the Mirrorless genre, such as his latest episode, "Reflecting on Mirrorless". I've listened to it FIVE times now and I have to say, it's been very timely for me and here's why.

"What's dangerous is not to evolve."

~ Jeff Bezos

For myself, it began last Summer with my switch from Canon to Nikon. I used to carry two large camera bodies and just about every L-Series lens out there. But after switching to Nikon AND reorganizing my business more towards travel work, I felt the need to carry less gear. The Nikon D800E solved my needs for high resolution for fine art, but I could not invest in a second body at the time because I could not find a suitable complement from Nikon for my D800E. Today, the closest is the new D7100. I feel like I would love that camera, but I am still hesitant.

My real interest has been with the Sony RX-1r, the only compact full-frame camera on the market, which also has eliminated the anti-alias filter over the sensor like my D800E. Ideally, the Leica M Type 240 mated with a Summicron-M 35mm f/2 lens would be my choice, but I can't see shelling out $11K on that just yet. And the more I think about it, the Sony NEX-6 would also serve me well in the field. Both of those platforms have some features yet to be included that would make my choices more concrete. However if not for my need for the high resolution, I could potentially travel with just the Sony systems.

So I have to change! I can't hold onto the idea of big DSLRs and heavy lenses. I'm not getting rid of my Nikon, but it will share time with Sony very soon, (and the Leica if God truly decides to bless me!) And I've got to step up my work. I've got to offer more. I've got to give my client something they haven't seen. Is this hard? Yes and no. I've already subscribed to the fact that my services are not for everyone. If you hire me, its because you want MY talents and are comfortable with my fees. Price-conscious clientele are probably not going to be as cool with me and I understand that. My creativity comes at a premium and I am not afraid to recognize that or ask for the sale. So as long as you know your market, you can stop wasting time outside of it.

So what about you? What are you doing to differentiate, evolve, and become more creative? That question needs to be answered every morning you get up. I know because I face it every day and do not always like to answer that question. But face it I must. Move on to the next gig and focus on the goals at hand.

Here is a Von Wong installment for your enjoyment:

29 July 2013

The Disappointment of a Failed Proposal

“A large-boned unexceptional young woman. Yet as soon as she disrobed and took her place on the platform, she became not only a bare body but a splendid living design. She became a nude.”

~Maureen Mullarkey

Off the Cliff Edge, Black Canyon, CO
©2006 Terrell Neasley

You know that feeling you get when you stump your little toe and there are other people around? The pain is excruciating as hell, but somehow you are able to stifle the outburst that is welling up like a volcano in your throat so as not to startle or frighten those around you. Funny thing is, those same people will often know exactly what you are going through and the second they see you, they experience a sort of phantom pain in their own toe. You see their faces wince as YOU try to keep a straight face.

Well, that's what I experience when I got a letter in the mail last week from a client who gave me the final verdict on a proposal for a project that was going to net me between $6 and $8 Grand over 2 months of shooting. This project has been in the works for close to 3 months, which was started back in April. Now normally, I don't discuss or show pics of my client work so much. And I'm not going into detail here but suffice to say it was more of the REASON I lost the gig, more than anything. I got the "we regret to inform you" letter and took it in stride, but it was hard to let go without calling the client and making sure I didn't miss something.

"If we will be quiet and ready enough, we shall find compensation in every disappointment."

~ Henry David Thoreau

The "why" was because of my nudes. And yes, my nude work was brought up in the beginning. It was known about throughout the entire negotiation, the planning, and narrowing down of the scope of work and all parties involved. But just as the trigger was about to be pulled to green-light the project, it was the wife of one of the decision-makers who called a halt to everything. Apparently, as she revealed to her husband, my nudes did not set the right precedence the company needed to uphold. I countered with the fact that I did not hide my artwork and many photogs shoot nudes, but the simple reason that I do it and do it so often disqualified me from the association I desired. So this was not an executive decision, but rather the (non-employee) WIFE of an executive who made the call for him. And chances are, they'll take my idea and pay another photographer to help them realize the concept I had them so excited about.

Yeah, it stinks. Am I over it...no. But understand this. My nudes are mine. I'm not halting or altering my process. I shoot the nude and will continue to shoot the nude as often as I can shoot and edit and find some time to eat and sleep in between. Am I crazy? Probably so. That's never been a debated case. So as maddening as this is, I have to understand and respect it. I've always held that not everybody will be able to appreciate what I do for one reason or another. Some have a moral issue with it. Some have a religious problem with nudes. Others see it as pornography, plain and simple. Regardless, I still respect their values and opinions. The only difference in this case is that I had every indication to believe we were moving forward and there was a lot of money involved. I feel like falling on the floor and throwing a temper tantrum like my grand-daughter might. But the reality is I have to keep with my respect of other people's tolerances and move on. Its a failed quest. Next challenge, accepted.

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?

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.

11 July 2013

Eleven Ways to Reduce Camera Shake

"A lot of photographers think that if they buy a better camera they’ll be able to take better photographs. A better camera won’t do a thing for you if you don’t have anything in your head or in your heart."

~ Arnold Newman

How many times have you had to throw away a shot because of instability or camera shake. I just picked up the Tamron 24-70 f/2.8 with Vibration Control. Tamron is the only lens manufacturer that makes a stabilized 24-70mm f/2.8 lens (surprisingly) and its significantly cheaper than both Canon's or Nikon's. As for this post, I'm not getting into who's got the better lens. This one is on methods to reduce camera shake and options to stabilizing your camera. I'm having to assume you understand terms such as stops, f/stop, aperture, and so forth. You may have to Google some of them if you aren't familiar with the terms of ask me in the comment section. So here we go. Eleven methods to reduce camera shake:

1. Fast Glass - Usually we're talking a lens with a maximum aperture of f/2.8 or wider, such as an f/2, f/1.4, etc. Remember, the smaller the number, the wider the aperture. A wider aperture lets in more light, which allows for a faster shutter speed.

2. IS, VR, VC - Image Stabilization (Canon), Vibration Reduction (Nikon), Vibration Control (Tamron). These are additional features that some lenses have that allow more steadiness, especially when you are hand-holding the camera. Most of the lenses with this capability will claim 3 or 4 addition stops of control using an internal mechanism that compensates for lens movement and shake.

3. High Shutter Speeds - This may sound obvious, but nonetheless its the main thing that allows you to get a sharp image when photographing a moving object. Movement has to do with time and the shutter controls time. A shutter speed of 1/60th or faster will usually allow you to hand-hold your camera to shoot a slow moving subject. If you are trying to freeze the action of a passing car, you'll need to be at 1/250 or better. Try freezing the action of a baseball as it comes off a bat and you better be at 1/500th or better.

4. High ISO - ISO regulates the sensitivity of the sensor to light. High ISOs means you are increasing the sensor's sensitivity to light so it takes less light to get the same shot. This is going to depend on the quality of your camera. If you have a Canon 40D, you'll max out at ISO 1600 before the image starts to look grainy. However, if you're shooting a Canon 5D Mark III, you can go upwards of ISO 12,800 with ease. That's a 3-stop improvement. Shoot the lowest ISO you can get away with, as a general rule, but make sure you get the shot.

5. Use a Tripod - This is the easiest way to stabilize your camera. You simply take it out of your hands and put it on a tripod. Just don't go cheap. I'll talk bad about you if you spend $2000 on a camera and put it on $60 sticks. Expect to fork over $200 on a good set of legs and decent ball head, but there are definitely deals to be found. I personally like carbon fiber tripods and use this Manfrotto as my main tripod.

6. Flash - Shutter speeds get slow because there is not enough light coming hitting the sensor. Flash fixes this by flooding the scene with light thereby allowing a faster shutter speed. You can have flash guns (speedlights), or mono-lights on light stands. Your camera will usually sync up to 1/250th of a second with flash, but if you need to go faster, the latest flashes will have some sort of high-speed sync feature built in. I use Nikon SB-700's and Paul C. Buff Einsteins.

"I never have taken a picture I’ve intended. They’re always better or worse."

~ Diane Arbus

7. Rear Curtain Sync Flash - Wait...what?? Its called rear-curtain sync which is another feature on many flash guns. You're basically telling the flash to fire just as the rear-curtain (or second curtain) of the shutter begins to close. In the normal mode, flashes fire as soon as the shutter opens. The problem is that on longer exposures, that freezes the image initially, but since the shutter doesn't close right away, movement is still being captured on top of that frozen image. With rear-curtain sync, the flash fires right before the shutter closes, so the frozen part of the image is on top of the movement.

8. Cable Release - Or Remote Shutter. This keeps you from having to touch the camera at all. When you REALLY need a steady shot, even hitting the shutter release button can cause camera shake and make you miss that clean shot.

9. Mirror Lock-up - Okay so you have a cable release. If you're doing some night time photography with pin-point stars in the skyline, you can still get camera shake simply via the camera's normal operating mechanisms, specifically the mirror raising and lowering. Mirror lock-up makes you have to hit the shutter button, (or cable release button) twice. One to raise the mirror and lock it in the open position, and then again to actually open the shutter and take the picture. The mirror comes down again after the shutter closes and the operating cycle ends. This is a menu function on most digital cameras.

10. Intentionally Underexpose - This is very interesting and goes against most rules. Its often frowned upon to say, "I'll fix it in post". But essentially, that's exactly what you want to do here. If you're sitting on a shutter speed of 1/30 and you need at least 1/125th of a shutter to stop the action, you're talking about a 2-stop difference. I'll take that. By manually going to 1/125th, you are cutting the light and underexposing the image, but the action is frozen. Okay, if you're shooting RAW...no problem. You can increase that exposure those two stops again in Adobe Camera RAW or Lightroom. The important thing is to get the shot, so if it takes fixing it in post, then so be it!

11. Photoshop CC Camera Shake Reduction Feature - And finally, speaking of fixing it in post...this is exactly that. The latest version of Photoshop, Photoshop CC (Creative Cloud) has a feature that does an excellent job on camera shake compensating. Whatever algorithm this thing runs to make a determination on how the image should look is phenomenal. It doesn't perform near as well with an image that is simply out of focus, though. So if you're manually focusing or if the camera auto-focuses on a point other than the spot you intended, its not going to fix that so well. But if you have good focus, but simply can't be still, its got your back. So movement issues...yes. Focus issues...not so much.

08 July 2013

What I Wish Photographers Would Do, Part 3

Alright. Here we are at the last and final part of this series, "What I Wish Photographers Would Do." And this third part is probably the one that means the most, benefits you the greatest, and cultivates the photography trade in the best manner possible. So as a matter of much import, this last part should most likely have been brought up first. However, in the natural order of things, it has to come last. Now where are we? Number 1...Stop giving away work. Number 2... Study your trade. With the first point, I'm trying to get you to respect yourself and this business. We already make it seem too easy with our clients. There's no reason to validate that notion. And with the second point, I want to illustrate how important it is to grow your skill set and improve your ability to get a shot in any situation. So what's the third part?

Part 3: GIVE BACK!

Now this third part comes last in the natural order of things because it operates under one primary assumption: That you have been successful at the first two parts and now HAVE something to give back. Let me elaborate on this a bit further. If you haven't studied your trade and you continue to give away your money in the form of cheap services and hi-res images, THEN YOU CAN'T HELP THE NEXT GUY COMING UP!! Giving back is simple. You take the knowledge that you have learned and you help that new batch of aspiring photographers learn a thing or two about the trade. THAT'S giving back.

Or how about this. Volunteer! "Wait...volunteer? Didn't you JUST say quit giving away your work?" Yes. Yes, I did. And I mean that shit. Volunteering is something entirely different. A portion of your work and time can still be donated to a worthy cause. The brand new couple who just became parents that spend $5,000 dollars on a new crib and $20K remodeling the room for Jr, but balk at paying you $500 for good family pics is NOT a worthy cause. That's business. However, if this same family, who has just spent all this money, is devastated because they suddenly find out Jr. has a terminal birth defect...Well, if you volunteer to do remembrance photography for them...THAT'S a worthy cause. I don't care how much money they make. Losing a kid hurts the same across the economic scale.

I've talked about the Now I Lay Me Down To Sleep Foundation on this blog before. Everything I do is at my own expense. Every family gets my best work as if they are paying me top dollar...but for free. It serves my community, it serves my trade, but it also serves my own heart. Give back. When the young man or woman admires your work, honors you with praise, and then asks for some advice, guidance, and suggestions on how they may also achieve, take a second to light that path. Chances are, you didn't get there on your own. Somebody helped you learn the ropes. Pay if forward. Give back. But I know... everybody can't do NILMDTS. I get it. If you can, great. If not, find your thing. My good buddy Scott Roeben is a complete NATURAL at shooting kids. I mean... A NATURAL. He, and several other friends shoot Joy Prom every year. That's his thing. I can't say its my gift. But we each do our thing and GIVE BACK!

How else can you give back? Find a worthy cause...check. Teach a new photog...check. How about donate some time, prints, or gear to an auction raising money to beautify your community, fight cancer, or help out the homeless. Okay, you're right. That still sounds like just another worthy cause. Okay. How about this then: Every 7th paid gig you do, offer to do an under-privileged family for free. There's no cause to it. Its just an altruistic gesture for somebody that wasn't even expecting it in the first place. Somebody who normally could not afford you gets your full and undivided attention as if they were one of your top-billed clients. How about that? What else? I don't know...YOU BE CREATIVE! Come up with some of your own ideas. I don't care. I just wish more photographers were giving back. Give back. It does your heart well.

07 July 2013

What I Wish Photographers Would Do, Part 2

"What makes photography a strange invention is that its primary raw materials are light and time."

~John Berger

Everything I write here for this 3-part series of posts are actually for the purposes of self-preservation. I'm not in any way saying photography is dying, but let me be clear, it is definitely sick. As I've stated earlier, a third of the blame lies with knuckle-heads in the business. So yes, self-preservation is my goal here, but its always been my nature to help, teach, protect, and edify. Understand me. I love this thing of light capture and pixel punishing. Its my thing. Passionate is too light of an adjective to ascribe to my thing for photography and I don't like seeing it sick. So let me get started on the second part of this series.

Part 2: STUDY YOUR TRADE

Like anything you undertake that is worthwhile, planning, research, and ongoing study is imperative if you wish to be better and achieve some reasonable degree of success. Far to often, I run across a photog doing paid work, who has no idea of how to operate their camera out of the "scene" modes, know the relationship of aperture to depth of field, use flash off camera, work with radio triggers, understand when to use ND filters, do post-work in Photoshop, use a lens other than the 18-55 or 18-135 kit lens their camera came with, ever use Bulb mode, or do anything else that might be evident that they take photo seriously. Okay, so you know the alphabet in order. Now identify the f/stops in order of widest to the smallest you can recall.

I'm not picking on anybody...well, okay. Yes I am, but for good reason. If you are not training yourself to get better, eventually you get yourself caught in a situation that you can't account for and thereby fail to deliver on promises you made. In addition, how can you place any value on your services when you do nothing to justify your worth. Spending big money on a good camera gives you no more right to call yourself a photographer than someone who buys an expensive hammer and calls themselves a carpenter. Knowledge and skill must wield the tool.

“I believe in equality for everyone, except reporters and photographers.”

~Mahatma Gandhi

I'm not saying anyone has to go spend 4 years in school and get a degree in photography. Not at all. But you still have to read. There is too much information online, much of it free in the form of tutorials and articles that can bring you up to speed and help you grow in your trade. Much of it is scattered all over the internet, but there are also central areas of creditable knowledge that can steer you on the straight and narrow. Lynda.com is a powerful source of info on just about anything for creatives. Plearn.com is one that I'm becoming familiar with. Take a look at my iPhone and you will see several subscriptions to photo-related podcasts that keep me abreast of the latest in photo news, issues, techniques, opinions, and more. Two that I am religious about are TWIP, with Frederick Van Johnson and PhotoFocus run by Richard Harrington and Scott Borne (located here in Vegas!). Chances are, if you see me on the road, I've got my ear-buds in listing to a podcast of some sort.

But wait, there's more. Do you subscribe to any magazines? Why not? Rangefinder Magazine, by the Neilson Photo Group (who runs WPPI) even has a paper version for free! My daughter first told me that. They do a State of the Industry report on the photography business in general every year. How about joining PPA? There are all kinds of benefits and networking opportunities there? Join a local photo club or meetup group lately? You have the benefit of learning from each other in those things. Does your city have a local camera store? Mine does. B&C Camera. You can go in and see the new gear that's just released and ask questions from a sales staff who are actual photographers. There are pros that come there on Saturdays to hang out and answer questions for you. Why? Because they love this thing. You can't do that with online stores. And try it at Best Buy and chances are, you'll be talking to a kid who can read the information off the card for you. Every use a Tilt-Shift lens? Wanna see what you could do with a fast telephoto lens? Spend a few dollars and rent one. I recently read an article about the Nikon 200mm f/2 as being the best for portraits. So I tried it out. Now I know that the Canon 85mm f/1.2 is still the best to me, but the Nikon 200mm comes in a close second for its sharpness and quick auto focus. I got to experience it and know for myself and that's powerful. Don't be too tight to rent some gear. Sacrifice some Starbucks and McD's. Its worth it.

All I'm saying is this. It cheapens photography when people get into it to make a buck, but don't want to put in the study or the work. It devalues the trade when you don't do it right. We all help ourselves when we treat the trade with respect. Practices that benefit you for the moment, but kills you and everybody else in the long run is just stupid. I don't care how many people buy cameras and join the club. I'll even help you do it as best I can. But I'm going to hold it against you if you are hollow, cheap and irresponsible with my love. Be respectful.

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