F-84 Thunderstreak captured by Z6 / Z24-70f2.8 9k kelvin
Back in the “good ol days,” like most photographers, I traveled with a huge collection of color correction gels. Nikon even made a special gel filter holder, AF-1 & AF-2 (which I still have). We did this because the white balance of our film (using current terms) was fixed at Daylight or 5500k. The most common filter I used was the 81a, what I combined with a polarizer to create the Moose Filter (the first warming polarizer). I have always taken getting the White Balance correct in the camera seriously, I still do to this day. It is true, you don’t have to this day an age, unless you’re like me and want to get it right, right in the camera. A whole bunch of people learned about this the fun way this past weekend.
F-84 Thunderstreak captured by Z6 / Z24-70f2.8 4900k kelvin
We’re on the ramp at the Combat Air Museum with their very cool F-84 Thunderstreak. The sun has just started to light up the horizon. It’s real simple, our digital cameras max out at 8k kelvin and in AWB, rarely go about 5k kelvin when shooting a sunrise or sunset. But the actual light temperature is closer to 10k so I like to set the camera to 9k kelvin. Why? Not only is that what you’re supposed to do to get capture max quality, but I also want to “see” what I “experienced” when I look at my images from the get-go, not waiting until after they are processed. And a year from now when I look at my images, I don’t want to rely on my memory for that color, but the amazing tool, my camera to record it correctly. It’s simply the standard I have set for myself, that I push myself to and my clients have come to expect from my storytelling.
It’s universally known, I just suck at macro photography! The big reason for this is simple. Getting down and sticking my butt up in the air waiting for the wind to stop blowing so I can photograph a posey, just not for me so I’ve put no time into being good at macro. Then last week I saw some really cool light and sadly, it was falling on a posey, Fireweed to be exact. And as much as I dislike macro, I love good light. Soooo … into the land of tiny, I went … with a plan!
To chase that macro light, for me, it had to be fun and simple. I started with the Z7 / 105f1.4 because it’s light so it can easily be hand-held. I didn’t want to mess with DoF, it requires a slow shutter speed and then a tripod. Putting the FTZ on the 105f1.4 and shooting at f/1.4, I was solving all my “issues” to easy macro. But the BIGGIE for me was putting the Z7 into DX mode which makes up for the MFD of the 105f1.4. Then I moved so all that I wanted in focus was on the focus plane leaving click as the last step. And because the Z7 makes B&W so simple, B&W I went. To check that my simple macro really works, I came back to the office and printed out 24×30 and they are gorgeous. Now don’t take this as a sign I’m plunging into macro, only that I might do it a little bit more of, macro … simple.
Our cameras are so smart, they can make us feel stupid! Case in point, the mysterious Custom Setting a13. When you have no lens on the body, it does not appear in the menu. You put a lens on the Z6 / Z7 like the Z14-30 and it still does no appear. Put a Z Lens on with a focusing ring like the Z24-70f2.8 and it appears. Magic!
Actually, it’s not, it’s just smart programming and brings up a point I’ve mentioned a few times before. It’s always a smart idea to go through your camera’s instruction manuals months after you’ve put it down. I always do that and it reminds me of something I learn and forgotten or, simply didn’t know. Nikon makes it an easy airplane flight read with their Nikon Manual Viewer so you can read them on your smart device. The moral to this story, know your gear so works its hardest for you and your photography!
There are times that you just gotta shoot! Time is everything and waiting and takin time to make everything perfect, you lose the shot. But those times when you do have time, one thing that can often improve your photograph is simply takin one step forward. Literally, place one foot in front of the other and move forward. How can something so simple work? It comes back to what I call the dance. That’s excluding elements that take the eye away from the subject while including those elements that support the subject. Taking one step forward is just one method of doing the dance that works.
Here is a simple, gorgeous, sweeping vista that was literally right alongside the highway. I stepped out with the Z7 / Z14-30 that was in B&W (Monochrome) mode as it was that kinda light and drama. I took the first shot (bottom image) as things were moving quickly. I didn’t like the bush on the left and felt I wasn’t inviting the viewer into the landscape. Then I took a step forward and that all changed. Seriously, I give photographers this tip all the time. Try it!
“Wendy Mae” 450 Stearman captured by Z7 / Z24-70f2.8
It was a gorgeous night! While I was there to take Ryan’s portrait, I couldn’t ignore “Wendy Mae”. The Z7 / Z24-70f2.8 was already pointed her direction, I just had to move Ryan out of the way, focus and shoot. Except, she had no light on her. She needed that extra 1/2 stop!
“Wendy Mae” needed the 1/2 stop, not the whole photograph. As you can see comparing the two photos how she pops with that extra 1/2 stop of light. How do you give her that light and not the whole scene? Actually, it’s really darn simple and takes just a heartbeat to do. I’ve already quickly selected the aircraft and run my High Pass Action (it’s all here on my KelbyOne class). I then hold down Cmd / Ctrl and click on the layer I just created which selects the aircraft again, go to Adjustments and brighten the aircraft by 1/2 stop. So, I moved Ryan out, went click, moved Ryan back in and kept on with the portrait session without missing a beat. Knowing this simple technique, it was easy to make the pic cause 1/2 stop makes a huge difference!
There are thousands planning on witnessing the great Dak flyover the UK and Normandy the 6th. You’re privileged to witness history and have a responsibility to share that with us all through your photography. Stopping those flying Gooney requires panning to bring back the sharp images. Panning can only get better with practice, lots of practice! Unlike most other things in photography, if you need great panning tomorrow and you don’t have it today, you are screwed! Start practicing now so you are reay for the 6th. Here’s how.
C-47 captured by D4s / 200-400
It starts by making proper hand-holding second nature so you start by practicing this technique, every day! I literally have a camera in my hand every day set to Manual, 1/20 (I practice with the D5 / 180-400VR at 400mm) focusing on and shooting items in the office getting a sharp photo. It just takes five minutes but it makes a difference. Then as often as I can during the week, I practice my panning photographing our dog Sadie as she runs around the property (currently practicing with Z6 / 70-200f4). I know this sounds really silly and I’m sure it looks even sillier if you were to watch me, but practicing and perfecting that muscle memory permits me to use this incredibly important tool whenever I need it.
DC-3 captured by D3x / 200-400
Bird flight and aircraft in the air are my classic examples of needing panning. The Mustang shot above, I was using a fast shutter speed for me, 1/50 while shooting the launch. While the Mustang is sharp, the background is not as blurred as I wanted. Knowing my own goof-ups, in the rush to get the shot (I was in Shutter Priority), I probably changed the shutter speed when I was lowering my exp comp and didn’t notice I hit the Shutter Speed in the process. But this just illustrates the importance of practicing panning because while I was messing with those controls, I was able to get a sharp image. Below is my video on panning basics. Remember to practice, practice, practice making panning a successful New Year’s Resolution!
