P-51D Mustang “Crazy Horse” captured by D5 / 105 f1.4
We spent a marvelous afternoon being hosted by Stallion 51 for the Photoshop World Precon. Our subject was light and we explored it with aircraft and models, seeing how we could use it to tell stories. We went out shooting at highnoon, what many think as the worst time to shoot to learn how we can make it the best time. We were fortunate that the temps were cool (for Florida) and we had some puffies in the sky all lending to fun and success.
Following my basic photographic concept of KISS, we used the depth of the hangar and its large doors as our light source. The students were able to see how by moving Marisa further and closer to the opening of the hangar, we could change the light and therefore her appearance. At the same time by placing her either closer or further from the back of the hangar, we could effect the exposure of the background. So while shooting at highnoon, we could take advantage of its power inside the hangar. Shooting with the D5 / 105 f1.4, we had gorgeous light on Marisa and lower light levels on the P-51D Mustang in the background so it didn’t take the mind’s eye away from her.
Then we took our learning of light outside and placed Marisa on the wing of a T6 so she was backlit. Using the polished aluminum of the aircraft as well as a touch of a gold reflector, we introduced light into the shadows overpowering the power of the backlight from out of doors. It was a quick lesson demonstrating that going indoors was actually a more pleasing light compared to outside and at the same time easier to make the quick, pleasing portrait. We had a great time and want to thank all who joined us and especially our models who were so kind to at time, make them look not so good so we could see the light when it was great!
Gtr Prairie Chicken (female) captured by D500 / 800mm
It’s something I’ve done since, forever. After sharing this simple thing with my group last week, I realized I’ve probably never mentioned it but it’s real simple. In my own quest to visually find the best background, I take a picture of it. When I see a background in my viewfinder that intrigues me for any reason, good or bad, I simply manually focus on the background and take a photograph of it. The reason? Well like in this case with the Gtr Prairie Chicken, the birds are constantly moving on the lek. In previsualizing where a chicken was heading and if I wanted to follow it, I would look at the background where it was going. From what I previsualized, I would swing the D500 / 800mm or not. I have hundreds of these subject out of focus, background sharp in focus photos in my files. When I go back again to a location like the chickens, I look at my images taken at that location/subject previously and that refreshes my mind to those backgrounds. It’s nothin revolutionary, just something I do to help teach myself.
Gtr Prairie Chicken (female) captured by D500 / 800mm
Background control, that’s a biggie in wildlife photography. When the subject is on the ground like this Burrowing Owl, background control means getting down low. But there are times when you want to be at eyelevel shooting and times when you want to drop down. When working with critters, physically moving up and down with a shy subject can be enough to make them go away. Many photographers use their knobs on the legs to raise and lower their tripod, standing up and stooping over to make all the adjustments, madly turning the knobs to unlock and lock them again. At the same time while doing this, the photographer is also breaking the golden rule when working with wildlife, taking their eyes off the subject. There is a fast and easy way to go low while watchin the subject the whole time!
Many tripods like the Gitzo 5562SGT I use for the 800mm, you can pull out the tripod leg lock very quickly and with no visible motion as far as the critter is concerned, permitting you to kick out the leg of the tripod (left red arrow, right arrow is the owl). You can quickly while keeping your eye on the subject, kick out the leg and lower your equipment and when ready reverse the process to raise the gear. You might be wondering about the stability of the rig doing this. You can see above the photo taken with the tripod in the position. I’ve been doing this technique since the first time this simple leg lock design was incorporated into the tripod and it’s never let me down. That’s why when the owl gave its stick perch that look like, “This is my space,” I could make the click with a clean background. With this technique I can watch the subject and quickly and effortlessly go low fast!
Yep, Jake and I are teaming up for two Yellowstone Adventures, 25-30 October 2017 and 18-23 May 2018. We going these dates specifically for wildlife, Elk in rut, Elk & Bison with calves, migrating and nesting birds but you’re in Yellowstone, so geysers and sweeping landscapes are all part of the Adventure as well! You can pretty much figure we’ll be explore the entire park, the features, fall color, spring greens and all the critters we can. We can’t wait!
You’ll fly into Bozeman, MT where we’ll pick you up and head down towards West Yellowstone where we’ll be based most of the time. Because of the nature of shooting in Yellowstone, we’ll be working out of two vehicles so everyone has their own window to shoot out of. We will be taking just FOUR photographers per Adventure (2 spots left). The price is $2180 which covers instruction, transportation to and from airport and entire week and a whole lot of fun! Call Sharon 661.204.1506 if you’re up for the fun and challenge!
“How do I figure out how fast a lens I need to buy for the depth of field I think I want?” Dang, that’s one helluva great question that came in this morning! Back in the day when you bought a camera body it came with a 50f1.4, wasn’t an option. Then they started to offer other slower 50mm lenses to lower the overall price until finally, you could buy the body only. Now a days, you can buy “kits” but fast lenses aren’t part of those kits typically. Determining what a shallow depth of field just isn’t as easy as it use to be when you were forced into it. But shooting with a narrow DoF is a powerful tool and like the writer asked, how does one figure that out prior to buying?
Waco captured D5 / 105f1.4 AFS
Being old, I shot with the 50f1.4 from the start and still do. These days my camera bag has the 24f1.4, 50f1.4 and 105f1.4 and I own those lenses to shoot at just, f1.4. To me, it doesn’t make much sense to spend the big buck for f1.4 if you’re just going to close down the lens so I shoot these at f1.4. Now how does one determine which focal length, f1.4 lens to BUY before doling out the big bucks is a helluva a question though! The obvious answer is to rent and test but this obvious answer has some flaws. Speaking personally, when I get a new fast lens, I shoot with it for a month straight, pounding it to make sure I like it. I did that with the 85f1.4 AFS when it came out and while a spectacularly sharp lens, I found that focal length just didn’t fit my style of photography. You could look at other photographer’s photographs but not knowing the back story, that might not help. The photo of Steve above, how close is that whiskey bottle to the film plane, how far is it from Steve? Those numbers are important to understanding the DoF of the 24f1.4. You could borrow a fast lens from someone on a workshop with you but that’s even less time to spend with a lens. You could shoot with a focal length you like and then in Photoshop screw around with DoF with a filter and while it sounds doable, applying that to the field I can tell you first hand doesn’t go very smoothly.
So, I have to admit I’m stumped by this question. I don’t have an answer in how you learn which fast lens to buy prior to spending the money. There are a lot of old, 50f1.4 lenses in drawers from the days when you had to get it with the body and that’s a shame as it’s a lens and focal length that can be an effective tool. And that’s what you’re after with your hard earned money, an effective tool.
