Using Clouds to your advantage

What a difference in what 24 hours make. While walking my dog on Monday, I spotted a really neat scene of The Brothers in the Olympic Mountain range shrouded by a low-lying cloud layer.  After the walk, I loaded by gear into the car and headed to a high vantage point where I could get a much clearer picture of the mountains. The low cloud layer is what really makes this photograph stand from the one I took 24 hours later. I used my 400mm f2.8 with a 1.4 converter to get a tighter shot of the mountains. Keep on the lookout for clouds and when ever possible add them into your landscapes to dramatize and enhance the terrain.

For all who’s interested in what setting I used, here they are:

Date: 8/23/10

Time: 9:00:54

Latitude:

Longitude:

Model: Canon EOS-1Ds Mark II

Serial #:

Firmware: Adobe Photoshop CS4 Macintosh

Frame #:

Lens (mm): 560

ISO: 160

Aperture: 32

Shutter: 1/60

Exp. Comp.: -1.3

Flash Comp.:

Program: Aperture Priority

Focus Mode:

White Bal.:

ICC Profile: Adobe RGB (1998)

Using Fill Lighting to enhance the Photo

Recently I was commissioned to take a series of informal portraits of Larry Stokes, one of Kitsap County’s Port Commissioners. The Marketing/Communications Manager warned me beforehand that he can be a bit of a difficult, but once he warms up to you, he has a heart of gold.

When getting out of the car, I was greeted by his two dogs, which treated me like a long lost friend. Round one to my side. After unloading my car and while setting up lights, on the porch, he asked since it was sunny outside why did I need portable flashes. I went into explain that it’s good to use a tad bit of fill flash to fill in the shadows, especially when you were metering for the ambient light.

After finding an ideal location on his porch, I fired off a couple of tests and showed him the results and explained why I needed to set up a few of the flashes and adjust the output for less light. While taking pictures the dogs came up to join him, which only added to his personality.

After the shoot he invited me into his den, which looked as if it was taken from a scene of an old Alfred Hitchcock move, “Psycho”. Hanging on the walls were stuffed heads, all shapes and sizes, ranging from moose, varies varieties of deer, analopes, mountain sheep to a huge Alaskan bearskin. Also posed in the room corners were a stuff cougar, raccoon and a couple of bears fighting in a corner. He said once while hunting in Alaska he came upon the two bears, one black and other fighting, and killed them. He’s also a hunting guide and a very talented taxidermist.

Posing him in the den, with a bunch of stuffed animal heads on the wall made the photograph work. Using the tools of his trade, elements in the background all added to this environmental portrait.

I wanted to get Larry in a shaded setting and away from the 3:00 sunlight. I used a two 550EX light setup for the porch pictures (both headshot and overall). One light was set about three feet from the subject on camera left, while the other was camera right about five to six feet from the subject.

I really liked the way the porch was in the shade and wanted to utilize the leading lines of the railing, decking and house as they lead right into the subject. Plus, the sunlight spilling onto the decking through the railing also added a nice touch as well. I metered for the overall ambient lighting which was 125th for ISO 50 and I set the flashes output at -1 2/3 (camera right) and - 1 1/3 (camera right). I took a few test shots to make sure the flashes didn't overpower the existing light and make adjustment to f-stop and set the Ev to Exp. Comp.: -0.3. I always strive to balance the flash output to the existing lighting so that the lighting looks natural.

Flash fighting placement for or the inside shots were: one camera left, beside the subject, pointed at the wall to shed light on all those heads in the background. Another was camera left pointed at subject and the 3rd light was camera right. I always meter for the existing light in the whatever location I’m in and then set ISO, flash output, shutter speed and f-stop to get the correct mixture lighting, so that I don't get harsh shadows.

I used my 16-35mm f2.8 lens for the porch and inside shots and used my 70-200mm for the outside headshot.

Hope this helps everyone to understand what going on through my head as I try to figure out the correct balance between the existing light and my flash output.

Educate Your Clients and Other Photographers

  A prospective customer recently emailed me saying my print prices are too high.

 “Your prices are outrageously high.  Photos are good but not $5.00 a piece good, maybe $2.00.

  I will check with the other parents who had cameras and get copies from Costco for .14 each.

 After what we paid to send them there and then to pay these prices for photos, I may consider one photo, but can’t pay these prices”.

 My response: I understand the way you feel, sending kids off to sporting events aren’t cheap. I have a son who wrestles and goes all over Washington to participate in Tournaments and a daughter who used to own a horse and go Western Gaming.

 I also added, that last year I lowered my prices so that clients could afford them. I hope you understand that I can’t give my photography away for $2.00 a print. Being a 40-year plus veteran photographer and without the benefit of another full-time job to rely on, this is now my full-time job that brings in money to support my family of four.

 When you look at my vast experience, with the costs involved with the purchase and upkeep of professional digital camera equipment and lenses, not to mention the computer,  software programs to post process the images and then add the costs of DVD’s and external hard drives to store the images on, this is expensive.  But wait, there’s the monthly fees associated with posting the images on Photoshelter, and Exposure manager. Then on top to those, add health insurance, studio rent, insurance, office supplies, phone service, utilities and the list goes on and one. I have to make a certain amount a day to meet my Costs of Doing Business, otherwise, I'll be out of business.

 Because of my experience, I'm provide field access closer to the action while most parents are limited to shooting from the stands. I know where to stand on the field and when to press the shutter button to provide my clients the best sports action photography available.

 All I can say is go online and check out the other photographers prices. Some are about the same if not higher than mine. $5.00 for a 4 x 6 is pretty damn cheap for the quality you're getting.

 I understand that with the advancements in dSLR technology and digital age has made picture taking so easy that about every housewife, father, cave person and perhaps even a gorilla can shoot a picture. I've known some have who had thoughts of turning pro after a few short months behind the viewfinder. Unfortunately, these folks, who already have full-time jobs, look upon photography as a way to make a few extra bucks and don't know the actual costs of doing business in photography. Like most under educated photographers they either charge 25 cents a photo or they give them away to friends for free.

 You can however purchase one of my 4 x 6 digital downloads for $5.00 each and take them to Costco to get your unlimited low resolution at.14 cents a prints printed.

This is a point in case that is happening to every professional photographer out there. It's up to us to educate our clients and other photographers on the true cost of doing business in photography.

Baseball umpires make good pictures too

Sometimes covering baseball can be boring as watching it on television. But each game is different and something exciting can happen: double plays and steals, plays at home plate, and diving catches in the outfield. While editing the games I came across a series of umpire pictures from one of the 15 Big League baseball games covered. An errant pitch hit the home plate umpire in the, yes, you guessed it. The game was stopped for about eight minutes or longer so the umpire could regain his composure. So, while he was bent over catching his breath, the three other umpires came over to see if he was okay and they all assumed the position. It was quite funny...they must have had sympathy pains for him.

Know When to Duck

Many have asked, “What’s it like to be a sports photographer?” Well, I can say one thing, you are assured the best seat in the house and along the sideline of action, but sometimes that comes with a price. There’s always a degree of danger when covering sporting events. A friend of mine was hit in the head by a baseball thrown from the outfield and ended up with a brain injury that sidelined him for over six months. 

Even through I haven’t been hit by a baseball, (knock on wood) I did have the lens hood from my 400mm f2.8 get knocked off, and crashed by a line drive foul ball that went into the first base photo well while covering a Mariners game.  So, when you are viewing baseball, either on TV or at a game and wonder why so many pro sports shooters have their lens hoods wrapped with duck tape, now you know the rest of the story. Fortunately, the lens was protecting the left side of my head while I was waiting for a pick off throw at first base.

How fast do those errant foul balls travel? Fast damn fast, and you have to be quick enough to duck or get out of the way when you see them headed your direction in the viewfinder.

There’s been games where I’ve had three or four foul balls coming crashing into the photo well and bouncing around like a pinball. So far, I’m only been grazed, but three over thrown baseballs in the first base photo have hit another friend well in one week. I told him he’s a ball magnet and I always make it a point not to be in the same photo well.

While covering sporting events and standing near the action you must process cat-like reflexes and know when to drop the camera from your eye and either dodge right or left. Whether you’re covering little league, high school, college or pro sports, your chances of getting hit by a ball, bowled over by wide receivers, linemen and running backs are one of the chances you take every time you step out onto the field.  And believe

 me, the higher the level the players are, the quicker you have to be to get out of their way. I’ve been bowled over by Santana Moss, landed by Jamal Williams and stepped on by Reggie Bush as he was chased out of bounds, but nothing more scared they hell out of me when Shaquille O'Neal landed next to me. The floor actually shook! I looked at him as he picked himself up and all I could have said was, “Damn, that would have hurt if you had landed on me!”  He laughed and said, “Consider yourself very luck.” You know what? I was indeed very lucky and still so to this day, I am.

I captured this photo last week at the New York Yankees vs. Mariners game. Notice the 3-D TV cameraman and where the position of ball is. Now, that would have hurt.

30 Years of War Honored in Granite

Monuments are everywhere. In Hanoi, Vietnam, there are statues, a tomb, museum and plaques to honor their heroes, and martyrs.

Near a traffic circle by the Lake of the Restored Sword, there is a bas-relief monument that commemorates the capture of John S. McCain III, son of the admiral who headed the U.S. Pacific Command. McCain was captured on October 26, 1967, when he bailed out and landed in the lake.

“Our People must never be allowed to forget, “ my guide says. “They defeated France, a major European power, forced the Americans to withdraw and battled the Chinese Communists to a standstill.”

Constant tribute is paid to the Ho Chi Ming.

He’s never out of sight and lies in a great tomb built with Soviet help. The massive red stone tomb has all the looks of a Soviet monument, with a parade ground the size of a Wal-Mart parking lot.

On any Sunday, workers, peasants, soldiers and the Young Pioneers, red-scarved school children pay their respects to “Uncle Ho”.

Elders, attending from a distant providence bring a wreath, bright flowers on a bamboo rack; follow the white-gloved guards who carry it in slow motion goose step to the marble entrance.

Also in Hanoi is a museum that displays ‘air pirates’ booty among other weapons used and captured in their war against imperialism. There is an outdoor gun park full of relics, one of which was a 105mm howitzer, captured from the French and then used to dump explosives on them at Dien Bein Phu. Also on display are two torpedo tubes used in an attack against the American destroyer USS Maddox and the tank that broke down the gates to the South Vietnam presidential palace and ending the war.

An entire room displays booty taken from American ‘sky pirates” – the helmet and oxygen mask of Everett Alvarez Jr., who was shot down and held prisoner for eight- and- one half years. Helmets are piled high besides broken tail assemblies. There are also photographs showing captured American pilots and airmen.

After viewing room after room of captured American weapons, I decide to go to the second floor to get a high angle picture of the MIG-21 belonging to the North Vietnamese fighter pilot, who had shot down over 21 American and Chinese war planes, when a Russian approached and asked, ” What did you think of this place with all your things in it?”

“Well.” I replied, “After being kicked out of Afghanistan, maybe one day when the country settles, maybe they will build a big museum full of your stuff.”

Red-faced, the Russian walks away.

In Vietnam, sacrifices are a way of life

In Vietnam I found a mountain of red tape to toil through, as my photo wishes had to be resubmitted because Vietnamese officials in Tokyo didn't pass it onto those in Hanoi.

Once we walked by Hanoi's infamous "Hanoi Hilton," a prison used to house American pilots during the Vietnamese War. But my escort, Dy, hadn't arranged a visit. I suddenly left the press tour to get a closer shot of the prison only to get chased off by a pith-helmeted guard frantically waving his arms.

They're very strict," Dy said as I rejoined the group. This is still used as a prison for our worst criminals." There would have been nothing to see inside anyway, he insisted, only the inner courtyard and a long block of crowded cells.

"This is frustrating," I yelled, "you only want me to photograph images that shows your country's successes. You want me to photograph the great war museum full of captured war trophies, the impacted remains of a B-52 in a community pond, your export textile and rug weaving factories, where luxury goods are made for wealthy customers elsewhere, not in Vietnam. You want me to photograph the school that Jane Fonda and Tom Hayden made famous during their 1972 Christmas visit. I need images to show our readers, that not only is your country a first-rate military power, but a fourth-rate economic one with a per capita income of less than $200.00," I said.

"If only you had asked us when the Visa was submitted in Tokyo," Dy replied, "in Vietnam, there is no such thing as freedom of movement, of following a lead where it may take you."

Photographing people in any country has little to do with taking pictures. It involves trying to understand people and their culture.

In Vietnam's controlled society it's even a challenge to meet average people on the streets. But after my guide dropped me off at the hotel, I soon found, I could wander around Hanoi at will and photograph people, who lived in poor gloomy ghetto - old French villas fallen to shabby decay and general life, but outside the city, all travel was regulated to the foreign visitor.

What likely will remain are the images of a country where beauty and ugliness lives hand-in hand.

Images like:

     Construction crews using a crowbar to pry, one by one, bricks out of a wall;

     One-hundred-year old French streetcars;

     Old men playing a Vietnamese version of Chinese checkers in a city car;

     And, always the children with their smiles.