I used to play golf regularly, years ago, before I took up photography. Golf and photography are very similar in many ways, the biggest in my mind being the need to juggle many tasks at once. In golf I learned to keep my “swing thoughts” sweet and simple. KISS as the saying goes. As a matter of fact I read somewhere that if you couldn’t contain your swing thoughts to a 3×5 postcard, you had too many. I think this is applicable to photography as well. Personally when I shoot I like to go with the flow. I try to feel the mood of the subject, note the sunlight abound, hear to the sounds, listen to the body language, etc. to come up with a portrayal of the scene in its entirety; naturally. Regardless of this approach which in most cases produces a very candid feel, there are things that I must tell myself consciously along the way.

Most of the time I am telling myself to fill the frame. A sure fire sign of an amateur photographer is a ton of negative space in an image. Many times I am also reminding myself to pay attention to the background. Early on in my shooting experience, I would get to the post processing stage of the game and notice some huge distraction in the background, one that wasn’t easily, if at all, repairable in photoshop. As well, I am many times reminding myself to be cognizant of the aperture I am using. A shallow aperture can render one person in a photo soft while the other person may be tack sharp. During a wedding shoot, its imperative to note the men’s lapels and ties, and the women’s hair and undergarment straps as well as the grandparents glare in their eye glasses. Once again, this can be akin to juggling 5 tennis balls while riding a unicycle.

Now that I have given you some insight as to what some of my swing thoughts are, take a few minutes next time out to consider what your swing thoughts are. As a rule, I limit them to three. I did the same thing in business, I never had more than three big projects on my plate at one time and it was a great strategy to employ; so keep it simple…silly.

Happy shooting till next time.

Brad

I mentioned in a previous post the importance of viewing a photo beyond the thumbnail or the cursory glance that most folks are so inclined to do these days, so that you can really assess the quality of the image. This is even more applicable with macros. Outside of photographing people, this is my second favorite form of photography. Macros however are far more difficult to capture than they appear and there are a few things that are imperative to taking a good macro. Hopefully the following will help you to overcome some of the inherent hurdles with macro photography. To preface, there are two things that are imperative in the process, reducing vibration and choosing the proper aperture.

First off you need the right equipment. Taking a standard image and cropping it down does not a macro make. I have owned two macros lenses, a 60mm f2.8 and a 105mm f2.8, the later of which I still own. On a side note, the 105mm is an excellent lens and not just for macros. Regardless, the 105mm is probably one of the more common focal lengths for macro photography and the advantage of using a longer focal range lens is that if you take photos of insects or animals, you run less of a risk of scaring your subject as you are further away from the subject. More importantly though a true macro will give a 1:1 ratio, meaning lifesize. The f-stop should be at least 2.8 as speed or light are important.

Secondly, you will most likely need a tripod. I own a Manfrotto.  It’s quite sturdy and rugged and not crazy expensive. I would suggest a quality tripod as you will need your camera to be rock steady while shooting macros. Keep in mind the smallest vibrations may introduce blur into your images when shooting macros. I remember telling my wife years ago that I didn’t get why tripods were so expensive. I opined that my little Sunpak was adequate, how naive I was to think that a quality tripod wasn’t necessary.

In some cases you will need a good quality off-camera flash, certainly while shooting indoors. On-camera flashes are typically far too weak for the output needed. Most of the time  they will leave a shadow in the bottom of your image as the light doesn’t reach past the lens barrel and hood; another reason to have the flash higher above the camera on the hot shoe. I caution you against buying an off brand flash. Stick with the Nikon and Canon’s.

Lastly regarding equipment, you will need a remote or an actuator, this isn’t imperative but helpful. If you will be shooting multiple frames repetitively, this is a must. If not, you can get away with using your cameras timer.

So, now you have the correct gear and you’re ready to shoot. Before you begin, I think its important to ask yourself if you plan on shooting for detail or for bokeh (boh-kə - the aesthetic quality of the blur). Both have their place in macro photography, however I imagine most view the aspect of super close detail as the greatest advantage for shooting macros. But remember its your image, do what the hell you want!

Regardless of what type of image you want to capture, the aperture you choose will be the key to achieving the end result. But as with most things in life, there are trade offs. Remember, the lower the apeture number the faster your shutter speed will be. This translates to less likelihood of blur in your focal range, however you will sacrifice DOF (depth of field – is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image) and will most likely have a majority of the image very soft, see below for an example.

Example of a shallow DOF.   ISO 1250  f/3.5  1/800

Conversely, if you use a smaller f-stop, say f/13 you have a deeper DOF, as a result you will achieve more detail in the image. Your trade off however is speed as the shutter speed will be dramatically slower increasing your chances of a blurry image. See below example.

Example of a deep DOF.    ISO 2000 f/13  1/40

The differences between these two images should be obvious on their appearance alone, however if you look at the specs, you will notice some very stark differences. ISO (sensitivity to light) is much higher on the mantis photo using the smaller aperture, as well, the shutter speed is much, much slower than the plant photo above. Lighting conditions for both of these images was very similar, outdoors on an August afternoon.

Remember that ISO is directly related to your shutter speeds but once again there is a trade off. The higher the ISO number the more noise will be introduced into your image and vice versa. If you own D700 or D3 series camera, you have little to worry about in the way of noise, but any other model you will notice more noise using higher ISO’s. (Quick note, the very highest image quality available is by using ISO L1.0 or ISO 100. This provides you with the highest gamut of color and the lowest amount of noise possible)

Moving on we’ll use the example of the mantis to discuss the actual shooting. We were at my brother-in-law Martin’s house, listening to his favorite song Copacabana by his favorite musician Barry Manilow when I had to step out onto the deck to escape the madness. I looked around his deck to find a subject to photograph when I saw this little green mantis perched on top of this velvet underground. I almost fell out. I blogged a few months ago about how contrast aids in composition and really helps make a photograph pop! This was manna from heaven to say the least. How often do you see a light green insect in a canopy of purple foliage? Seems he had a death wish… But I was happy to photograph this maestro even if its days were numbered.

I decided that I wanted detail out of this image so I set my camera onto my tripod on the same plane as the mantis. This is critical to getting the detail across the entire surface of his body as the DOF is so shallow at this distance. See below an example of just how small this guy was and how the details get blurred when you shoot something so small at an angle. The back end of the mantis is blurry while the head is sharp, all within the space of about a 1/4″ at best. This is one of the challenges of macro photography and you will notice the mantis photo above is sharp throughout its entire body because of the correct aperture and the plane of the camera is parallel with its body.

Example of how DOF effects sharpness.    ISO 1250  f/5.6  1/2000

So now your tripod is set and your firing away. One thing you may notice with macros is your exposure is very difficult to get right. Unfortunately, early on, I would learn these things in post-processing, after the subject and conditions had changed. To counter this problem I would suggest spot metering if your comfortable with it, if not use your matrix metering and exposure compensation as needed. A great example of this issue is on the mantis with the purple background, the matrix metering would have rendered a much to bright exposure due to all of the dark foliage in the background thus overexposing the mantis’ head and body and reducing detail. If I recall, I probably shot with center weighted metering (as the mantis was in the center of the frame) and underexposed by a full stop and a third. Regardless, with macros, get the right exposure on the right part of the frame or subject!

Lastly, don’t lose sight of using good composition while photographing macros. I made the mistake of centering most all of my macros early on and quite frankly, after time, they bored even me. The first image of the plant above is a good example of a very benign subject photographed with a strong bokeh and the rule of thirds to get the most out of the image as possible.

Here are a few shooting tips to keep in mind:

• Use manual focus
• To get the closest image possible, roll your focus ring to the closet setting, then physically move your camera back or forth to get the right focus, this will ensure the closest/largest image possible
• Turn your VR off if using your tripod
• Move slowly when photography insect or animals, they have eyes…
• Be patient when photographing insects and animals, actually, be very patient
• Block the wind from your subject when outdoors
• Don’t walk around if your inside or on a deck
• Use the rule of thirds, even with insects, good composition isn’t limited to portraits
• Overexposure kills detail, underexposure dramatically increase detail

I am a very hard headed person I have just realized. My wife claims she has mentioned this to me on numerous occasions but I probably argued that I knew better.

Regardless there has been a slow but progressive change in the way I view my images in the viewfinder, how I compose an image.  What I mean is I view, through my camera eye, the placement of my subjects differently than any other time in the past. I am not moving the subject physically, however I am changing my horizon by turning the camera angle to the left or right, depending on the subjects political views of course, JK. I am weighting my subjects differently in the frame. I am looking for perspective, I myself am physically moving sometimes to achieve a more interesting angle, higher or lower, closer or further away. There is a time and place for straightforward images but when I want that I grab a magazine or scroll through Yahoo News.

A terrific example of this change I speak of would be the photo of the Porsche above. The subject has some potential by itself, hell it’s a Porsche!  But the image is much more interesting as it looks like it will soon leave the page, racing downhill. Were this composition flat across the page, it would lack that little something that most people don’t recognize as the key to a better than average photo. The later is how I would have approached this image before this slow train of cognizance came to town, when I was in my comfort zone.

The rule of thirds is probably the first rule of composition that most photographers learn, however its just the tip of the iceberg really. There are vanishing points, framing, minimalism, negative space, perspective, contrast, bokeh, intentioned blur, etc., etc., etc. I have always been one to explore the world of photography without discrimination, and I would suggest that you do as well. Given that digital is in essence free, you have nothing to loose. However, I would caution that you play around with composition in your free time as opposed to during a paid shoot. Its always a good idea to remain in your comfort zone during those times.

Lastly,  and this gets back to my earlier post on “New Camera Buying Guide”, so many people I know are hung up on buying a camera for the wicked new specs or price point. I can tell you that if you own an D40 and know how to compose the subject well, it doesn’t matter what the camera costs or how many megapixels it has or FPS and on and on and on. A well composed photograph is priceless and twenty years from now when you and or your family are looking at these photos no one will care that it was shot with a $750 camera set up or less. Quality always trumps quantity.

Happy shooting till next time.

Brad

Hi, I am William Brozy.  I am an outdoor photographer that avidly practiced this craft for over ten years.  Brad is presently holding my camera hostage and threatened it much harm if you do not enjoy this guest blog.

Recently, I had the pleasure to become reacquainted and shoot with Brad in the Monongahela National Forest in WV.  Many years had passed between us and paradoxically we both picked up a Nikon and became visual junkies.  This was a great opportunity to hang out, renew an old friendship and share a common passion.  However, when he asked questions regarding my photographic vision; creative and compositional decisions; my use ambient light; my workflow – I felt strangely dumbfounded.  Where were my thoughtful, concise and informative answers?  After all I have been doing this for so many years.

One possible explanation is that I find outdoor photography a solitary endeavor of personal growth.  Since my long-time canine assistant passed on; I primarily research, drive, scout, hike, shoot and process my images alone.  It’s hard work.  I am slow and deliberate on my hikes.  I seek inspiration and search for compositions measured in footfalls.  In other words, I am slow, tedious and very boring and typically alone on these hikes.  Non-photographers just don’t understand the effort and dedication that is required to create unique images.

Another possibility is on rare occasions when the gods smile down upon me and offer perfect conditions and my mind and eye are open; I occasionally find myself in a ‘Matrix-like’ moment.  This moment defies explanation.  Compositions appear with every camera movement, my Nikon becomes a living extension and art flows from the environment into my soul and onto the sensor.  I am immersed into the surroundings.  Obviously, these moments aren’t common occurrences.  But when they happen… words wash away.

Photography is a journey of practice, failures, patience, lessons and growth.  One bit of advice I mentioned to Brad that (I believe) is paramount – immerse yourself into the moment.  That holds true with all genres.  An accomplished boudoir photographer temporarily becomes the subject’s lover; he/she looks deeply into the subjects eyes, feels their pulse and plays on their mood.  Likewise, a good nature photographer listens to the bird songs, feels the elements and is one with their surroundings and camera.  Immerse yourself and personal growth will occur.  And did I mention practice?

Enjoy the journey!

Okay, maybe the title of this blog post is slightly exaggerated but I do feel very passionate about photographs being viewed in as large a format as possible. It drives me crazy when I see someone comment on a photo that when enlarged, is complete trash. Facebook has perpetuated this phenomenon to a level that provokes me to fight back! (I need some wicked theme music just about now).

If you scan the photographs on your friends Facebook pages you will see what I call “mini Annies”. Yes, this refers to Annie Leibovitz. The “mini Annies” are those photos that catch your eye for a quick glance but upon closer inspection, which FB doesn’t really allow you to do very well, you will notice many flaws. Most photographers are very adept at viewing photographs critically and when they say, “Great photograph!” you can pretty much count on that being the case. Conversely, most people will allow the thumbnail to do all the talking without really evaluating the true quality of the image. Unfortunately, too many people’s pictures are exalted as an “Excellent picture!”.

Case in point, I took the photograph above in 2006 on our family’s private island in the low-country of South Carolina (not really, but work with me here people, I’m already at 200 words). A quick glance shows a decently composed photograph but upon closer inspection, you will notice that the branch of leaves, about halfway up on the left, are blurry due to some strong winds that were prevalent while this photo was taken. Actually most of the leaves in this photo are moving, but the ones I mention really kill this image. The thumbnail looks okay, the print looked like Fido’s arse. Certainly not worthy of the bonus room wall.

So next time you view a photograph, I would implore you to pay closer attention to the image. Give the good ones the adulation they deserve but don’t pat the back of the “mini Annies” out there. Photographers at all levels will appreciate your “knowledge of the sport”, as it were.

Happy shooting till next time.

Brad

Have you ever wondered what the “A” setting stands for on your camera? More importantly, do you wonder what it does to effect your images? I know when I bought my first DSLR, a Nikon D50, I didn’t have a clue and quite honestly it was a bit intimidating. I really wasn’t sure what all those little numbers were in my viewfinder. I figured that they meant something to someone, but to me it was purely Greek. This “A” stands for aperture and is expressed as f-stops. I will attempt to “open your eyes” to what it does and how to use it properly in your photography. It is a huge topic to discuss but I refuse to bore you with miles and miles of technical mumbo jumbo; this will be the abridged version on the topic.

Think of your pupil as aperture. When you are in a dark environment, your pupils get very large in an effort to let more light to reach your retina. Conversely when you are outside in bright sunlight, your pupils get very small. If you have ever had your pupils dilated, you know that sunglasses are imperative, even if your not in bright sunlight as your eyes cannot regulate the amount of light entering into your retina.  By the way, as related to our discussion here, the retina is your cameras image sensor where all of your images are captured and lets designate your eyelid as the shutter. I only introduce the eyelids to complete the analogy, but we’ll steer clear of elaboration for now.

Very simple right? Your eyelids are the shutter, your pupil is the aperture and the retina is your image sensor. With me so far???? Good.

So now we know what it is, next we’ll discuss how to use it and how it impacts your image. An aperture of f1.4 is really bright/speedy, say completely dilated. As well a very dark/slow or small aperture would be f32 or whatever your lens will allow, every lens has different tolerances.

Shown above are two extreme examples of what different aperture settings do for the detail or lack thereof in a photograph. Both images were shot using the exact same focal point.

The first image was shot at f32, the bottom at f3.5. Clearly the f32 allows for an enormous amount of detail throughout the entire image. I won’t explain why this is, just plain optics at work but in stark contrast to the detailed top image the bottom image is very soft except for a very small portion of the focal point, which is in the middle of the frame. This actually runs in a straight line, from left to right, across the entire image and it is known as Depth of Field or DOF. The bottom picture has a very shallow DOF and the top, a very deep DOF.

Both examples are correct as related to photography, exposures are the same, color, etc., etc. and that’s the great thing about photography.  You can give your image incredible detail or a very soft dreamy feel. Choice is yours as the photographer but there are times when one is better than the other.

For example, there’s an image on the “Portraits” page of my son with the colorful silly bands. This was shot with a bright aperture of f2.5 at 1/400 shutter speed using ISO 200. This softens the features on his face and gives a welcoming feel to the overall image.  Most of the time when I am shooting macros, I want detail and I usually use higher f-stops. Landscapes normally require a higher f-stop as well; you want that detail. Don’t hold me to it, but I was once told that Ansel Adams stated the perfect aperture to be f8. Regarding my experience with photography, I can’t dispute the statement.

But lets hold up on that car wash for a moment, take my advice, as this is important. If you do not know what ISO is and how it effects your shooting, go to your cameras menu and set this to “auto” if your going to play around with apeture. I promise I’ll write about ISO soon, but for now, just shoot in auto. Make sure your auto ISO setting doesn’t cap out at 400 or any other number, let it roam where ever it wants.

I truly hope this was easy enough to understand, but as I mentioned it’s a big topic, so if you have questions, feel free to yell at me.

Happy shooting till next time.

Brad

I recently received a voicemail from a good friend, my “Jamaican pool jumping friend”. Oh yeah, he’ll love that moniker, trust me. I was slightly concerned as he seemed to be in a bit of a panic and didn’t leave any details as to why I needed to “Call him back, quick!”  When I returned the call I was pleased to hear that his problem was photography related and not personally dire, however; he still sounded a bit anxious.

He had mistakenly deleted a few images on his cameras flash card. Man that smarts! Blood pressure and anxiety are just the tip of the iceberg with this deal. You know as well as I, this only happens to the most important photos you take. DAMN YOU MURPHY!!!

So I quickly donned my therapists hat to calm my friends nerves. BTW, this hourly rate is a little higher than my photography rates, in case you were wondering. I told him not to worry. Unless he formatted the card, he had a very good chance of recovering all of the images he had erased. In case your thinking, I just won’t format my card to avoid this type of catastrophe, bad idea. Get into the habit of formatting your card before you begin a new shoot but only after you have downloaded the previous.

I advised him go to the website of the manufacture of his flash card. In his case, this was SanDisk. They do not offer software recovery, but they do point you in the right direction and this is where I would start my search for a solution as opposed to a random internet search.

A few days later I received an e-mail from my buddy thanking me for the info as he was able to download and purchase software that allowed him to recover all the images he thought he had lost. Specifically, he stated, “that was the best $40 I ever spent!”. I would argue his point as he has picked up the dinner/bar tab a few times in my favor….but each unto his own.

I hope that all of my readers are spared this mild form of cardiac arrest but the chances of this happening are heightening the more you shoot of course. Just plain ole odds at work, however; know that all is not lost if it does.

Happy shooting till next time!

Brad

I love this photo.  Its probably in my top three list.  I have top “whatever” lists for just about everything, drives even me crazy as the music “lists” change by the hour it seems; however, Miles Davis still remains king of the hill.  Regardless, I hope this “top three designation” doesn’t sound like self adoration, as I was lucky enough and had just enough experience to be able to capture this image.  So let me elaborate as to why this photo works. There are a couple of things going on here that are worth mentioning.

First and foremost, you have contrast.  Not the kind that makes everything look edgy and dark.  I mean contrasting colors, sharpness and subjects.  This type of contrast is critical in separating the men from the boys as it were.  Uh oh, I’m in trouble, somebody in the back of the classroom reminds me that this may also separate the women from the girls. Sorry ladies…

To begin with, we’ll discuss color.  This is easily seen by the naked, conscious eye.  You have these wonderful warm colored leaves surrounding the relatively cool, white color of the pup.  Ok, he’s a little dirty round the face, but work with me here. If you had a big furry white beard and no opposable thumbs, you’d have a dirty face too…

Next, you have a contrast between the sharpness of the pup’s face as compared to an ever so slight softness of the leaves.  Pay attention here.  If this photo had sharpness through and through, meaning every aspect of this photo was sharp and crisp, it wouldn’t “pop!” the way it does.  Because I took this photo at an f-stop of 3.5, I have achieved a noticeable softening of the leaves while the nose and face are still tack sharp.  We’ll talk about f-stops, apeture, softness and bokeh some other time.  It’s a big topic and I have drafted umpteen blog posts about it, but can’t get the message quite right yet. Pray for me….

Lastly, there is a contrast in the subjects.  Photographers love fall colors and the scenery they create in certain parts of the country but it can be a boring and Hallmarkish.  Is that a word????  Spell check says no, I say it stays. Regardless, if the pup was cropped closer or filled the frame more, thus reducing the influence of the leaves, you’d have a totally different feel to this image.

This concludes the Contrast segment of our program, I hope its been helpful.  Panthers play soon so I will retire my keyboard for a few hours.

Happy shooting till next time!

Brad

Its funny, I will be shooting my sons soccer game or out at Mac’s and eventually someone will spark a conversation that goes a little something like this:

 Q. “Hey man, sweet camera!  What is that a Nikon D4000000?”

 A. “Thanks haus, I like it too.  No, it’s a D3s, see the gaudy, yellow, overblown stitching here on the strap???” I wish Nikon would just provide generic straps, nothing calms my nerves better than walking around in a crowd of people with a neon sign around my neck that says, “Hey everybody, I’m holding about $8,000 here in my hands and I have one leg, so chances are I won’t be able to run you down if you beat me up and heist my wares….”  Ok, that was just a bit cynical. For the record, this is why I remain a pretty decent size fella, purely a defense mechanism.

 Q. “Say, what do you think about the Nikon D5100, I hear its awesome!”

 A. “Yeah, I hear it rocks the cash box.”  (My oldest sons interpretation of the 80′s Clash hit “Rock the Casbah”)

This goes on for a few more minutes typically and then we part ways with little accomplished in the way of help or true enlightenment.  In my defense, it’s almost impossible for me to help someone make a decision on a $500 – $2000+ purchase in a few short, completely divided moments.  I don’t want that responsibility anyway. Not without a commission at least.  I do like helping folks with similar interests though; photography clearly being my favorite.  So, without further ado, I have created the “Guide to clarity in your search for a new digital camera” guide, volume I. (Did you hear the movie trailer guys voice in your head?  I did….with a slight reverb too)

Before we get started, let me point out that I love to crunch specs and contemplate the finer points of an electronic device just as much as the next guy, but I pride myself on a common sense approach to anything that is bigger, better and badder than its predecessor.  Trust me, spin is spin, I don’t care how fast its lips are moving.

• Megapixels – Don’t get hung up on the megapixel war, 6mp is more than adequate for resolution, unless you plan on blowing up photos beyond 8×10.  Most cameras are above this benchmark now anyway.  If 24mp is required in your work, you shouldn’t be reading this blog.
• Usable features and functions – In-camera functions like alien recognition, red eye removal, spousal removal or replacement, add hi-lights, etc. are rarely used and in my opinion, shouldn’t be considered in your deliberations.  Post processing programs such as Apeture and Photoshop are designed for this purpose and there are many advantages to using this software as opposed to the in-camera editing. Who needs a ”P327 Space Modulator” function anyway?
• Match your gear wisely – A chain is only as strong as its weakest link, if you buy a great camera body and then put a cruddy lens on the mount, you will get a picture only as good as the lens will bare.  This is applicable to speed-lights, filters and flashcard storage alike.
• Know your talents and aspirations – If you take snapshots on a few occasions per year, say on vacation, during Thanksgiving and Christmas, then keep it simple. Point and shoots are terrific for the average person and will be all the camera most people will ever need.  If you are a beginner now but have been shooting for a while and know that you are going to continue shooting, then buy according to these needs.  Buy up, per se, maybe a D90 or so, maybe a 24-70mm f2.8 lens.  If you are moving past the amateur ranks I would suggest speed, see below for expanded explanation.
• Speed – Football coaches will tell you that speed kills.  The same is applicable in photography.  A lens with an apeture of f2.8 and larger are “bright” or ”speedy” lenses due to the size of the widest apeture setting.  This allows for a quicker exposure in low light shooting.  Also, in the semi pro and pro models like the D700 and D3s, most all of the settings I use in shooting are within reach of my ten fingers (yes I am grateful that feet, in the singular or plural form aren’t required).  This means I do not have to go into the menu to change ISO, WB, virtual horizon, BKT, AF, etc etc etc.  This is huge for me as I am shooting on the fly and this really is speed.  Also, a speedy camera body will allow you to shoot at 5 fps (frames per second) or more.  Most cap out around the 9 fps and this is nuts to hear when it happens, especially the first time.  Be careful not to drop the camera if your first time firing off 9 fps or more….Personally, I giggled like a school girl….
• Reputable brands - My opinion is that Nikon and Canon are very similar in quality, price and performance.  However, I am confident that you can find a blogpost of opposing views very easily on the topic.  I can only speak for the Nikon family as we have owned 6 or so over the years ranging from the Coolpix up to the D3s pro model. These cameras have been unbelievably rugged and perform consistently well.  I just recently retired my D700, albeit involuntarily. This was my first full-frame camera and what a stinkin’ good camera it was!  I recommend Nikon products.
• Kits – Most entry level and beginner level cameras are sold as kits.  This is to say that the vendor or the manufacturer will bundle a camera body, lens, bag, flash card, etc. into a kit for a lower price than if you were to buy the items individually.  These kits are normally a safe bet but if it looks too good to be true, it probably is too good to be true.  Beware the bait and switch tactic that some on-line retailers employ. If you have been shopping for a D7000 for a few weeks and the price is X at B&H Photo, then you see the same kit advertised on Jimmy Crackhead’s Photo World site for $400 cheaper, I promise you that disappointment is eminent.  The following is important; don’t skimp on bodies, lenses, speed-lights, flash cards or filters.
• Reputable vendors – I do not formally endorse anyone but I have done business with B&H Photo in NYC and Calumet in Chicago, both of which are highly respected as online retailers.  You can add Adorama to the list however I personally have done no business with them.  Where possible I use Biggs Camera in Charlotte for equipment and prints.  Regardless, you want competent advice and service when it comes to these purchases as they are normally large investments.
• Used equipment – This one is a little tricky and I would suggest this only to the savvy buyer and advanced shooter as experience is important.  If you buy used equipment online, know what you are searching for and ask for specifics.  There are import and grey market products on the market.  If you don’t know the difference, I would caution you to read and learn more about the item.  I have sold a couple of lenses on Ebay including a 300mm f2.8 which fetched upwards of $3500 but the transaction required a lot of knowledgable dialog that both the buyer and I could easily communicate to one another.
• Lessons – I will offer into evidence your honor, the example of “why” you should pay for a lesson or three.  To begin with, human nature states that if you cannot operate something that you own, you will cease using it eventually.  Sooner than later in most cases.  Understanding formatting, file storage and transfer, ISO, white balance, apeture, bounce flash, continuous servo, depth of field, etc., etc., etc. can be overwhelming.  Secondly, reading and comprehending the terms and jargon in the world of photography can be tough.  It helps to have someone there that can explain in layman’s terms what DOF looks like and why it matters.  I don’t care if you hire me for this or not, just get lessons somehow.  View this as an investment on your new camera, not an additional expense.
• Buy a nifty fifty – Say what, you say?  Buy a 50mm f1.8 or f1.4, the aforementioned street value of about $130, the later somewhere in the neighborhood of $400 or so.  The f1.8 is more than adequate though.  This lens is in every pro’s bag.  When its not in their bag, I promise you its on the mount.  This is the most fun you will have with a lens and in my humble opinion, it will open the doors to more creative styles of photography for you including my favorite, shallow DOF bokeh photography.  Regardless, this lens is unassuming and very easy to use, truly one of my favorites.

So, there you have it, my thesis on buying a camera.  I hope this has been helpful and I apologize for the length of this post, however this topic shouldn’t be glossed over.  There will be a test on Monday so everyone study up and remember the get lessons!!!!!!

Happy shooting till next time!

Brad

The North Carolina mountains are a real special place in the month of October for photographers and nature lovers alike.  The rich, colorful foliage is really something special to see, if only for a few days each year.  If you haven’t seen it firsthand, I would highly recommend the experience.

A couple of years ago while on a trip to an area near Robbinsville, NC for our 10th anniversary, we left out one mid-morning in search of some lunch.  Just as we were making our way out of a turn in the road this postcard above appears out of the corner of my eye.  I stop as though a small child had abruptly entered the highway in front of me chasing the errant boot of a soccer ball; the smell of rubber filled the air.  I throw my truck in reverse, unhindered by the oncoming traffic (not true at all, but helps keep the story interesting). I slam the breaks again and hastily grab my camera and tripod.      Wait.      I don’t see my tripod.      This is not good.

I need to take a long exposure so I can make the water nice and dreamy.  There’s no way I can hand-hold my camera for long enough to get this photo right.  I’m starting to have a complete and total meltdown of epiphanic proportions.

Okay, enough of that.  Seriously though, many times in photography you can improvise when some special need arises.  The scenario described above is real and the result is real as well.  I needed a tripod but only had a beanbag for any sort of stability.  I set the beanbag on the hood of my truck, placed the camera on top, set my timer for 2 sec delay, framed my photo, focused and pressed my shutter release.  Boom.  I can live with an image like this without the “real hardware” as it were.  Even if I didn’t have the beanbag, I’m sure I could have made the hood of my truck work by itself, however the beanbag is much more convenient, make no mistake.  The use of a wall, pole or anything more stable than you can be used to aid you in getting “hunkered down”.  Yes, I did say hunkered down and you’ll remember it.

So, moral of the story is be resourceful, use what you’ve got and make it work for you.

Happy shooting till next time.

Brad