Greene Family Music Christmas Card

I met a fellow colleague of mine Rob Greene shooting in the pit of a concert a few years ago. He's a jack of all trades doing both concert photography and promotion for local venues. He's helped me with access to local shows of acts I was interested in shooting and we've rubbed elbows in the pits of other shows as photographers more than once. He's a super nice guy and way into music than I will ever be.

Late last year he hit me up with a personal project of his that I could not refuse, to shoot his family's Christmas card. Now, this isn't something I normally lean toward, but Rob and his family aren't your normal family and they don't send out your normal Christmas card, because they are all big into music, they have started a tradition of basing their card off of classic album covers - how could I not jump on this?

Last year they based the card off of the Queen II album.

This year, they wanted one based off a Pretenders album.

Rob sent me the album image and it seemed pretty straight forward. Because it has a nice clean - white background, all we really needed to do is find a white wall and I could focus on the lighting while they focused on the wardrobe.

We bounced back and forth via email about a possible location. Since it was November, outdoor locations were not a good idea. When I told him all that I really needed, he came up with the local arts center in Clemson. We could do it one Sunday morning when it was not in use and it was right up the road from them.

So we arrived and I set up my stuff. I used three flashes for this setup. Two would be blasting the white cinderblock wall and one would be in my Paul C Buff PLM umbrella with diffusion fabric to light the subjects.

Dialing in the lights didn't take too long. I just needed a field behind them blown out. It didn't even need to fill the entire frame, just behind them to make editing really easy. I had to make sure they were the proper distance away from the wall because you can create a lot of reflective spill from the wall that you may not want. Since we were trying to reproduce a specific image that had no rim lighting, that took a little adjusting but it could mostly be done by increasing the distance between Rob and his family and the wall.

Here are a few test shots showing how it was dialed in.

Here you can see Rob (not so enthusiastically) posting for tests. There's a lot of light wrapping around the edges of his jacket. On the outer edges, you can see how the whole wall is not blown out, but around him, it's exactly how I wanted it.

Moving the background strobes a little and having Rob move forward (toward camera and away from the wall) reduced the amount of light hitting him from the wall.

Now we were ready to shoot. Rob's family were totally cool with what we were doing and everyone had done just enough to their wardrobe to convincingly imitate the Pretenders (pretending to be the Pretenders - why couldn't I think of that on set).

The only real challenge left was to set everyone just so to try to reproduce the original image: positions, body language expressions. We got seriously close right away and it just came down to chimping on the camera and comparing it with the original album image to make ever-so-slight tweaks. It happened scary-fast. So fast, just for insurance sake, I shot individuals in their respective poses just in case I felt the need to put this together as a composite image. But they nailed it so close in the last group shot, I never felt the need to go the composite route.

All I had to do is burn the corners in Lightroom to provide a clean canvas. Rob added the family name in the same font for the final result.

It all went so smoothly, I suggested some non-Pretender shots for their own use.

The great thing about a setup like this is that once you get the lights set up, it's very efficient. You can just shoot and shoot working on fine details and variety which is what studio-type setups are all about.

My Take on the New Nikon Df and what Nikon is Doing Right and Wrong in General

So Nikon debuted their new camera body branded the Df. It is an obvious and deliberate departure from the design evolution of modern cameras. I think it is fair to say that Fuji should be credited with this trend with the huge success of the X100/X100s (and to a smaller degree, with the X-Pro 1) which harken back to the basics of the photography experience but still bristling with new technology.

Nikon's new Df has sparked a visceral reaction throughout the online photography circles. One photographer, who I respect quite a bit, Lee Morris wrote on fstoppers.com that the Df "Represents Everything Wrong with Photography" which is quite a statement - and he makes some good points. (Since then, Lee has produced what may be the best review of it in the history of camera reviews)

His critique sparked such a reaction from Don Giannatti (aka "wizwow" - I guess all the good photog internet names where taken) that he felt compelled to write a response claiming that it is the existence of photo writers that we should be questioning. He makes some excellent points as well.

Fearing Wizwow's wrath and weighing in on this topic - thus becoming part of the "photo writer" community (which he is also a member of) - I have some things I'd like to get off my chest regarding the direction of Nikon in general using the Df as a springboard or lonely straw that broke my photo camel's back.

Prologue

First, just a little about me in case this is the first time you've read anything from me about photography. I've been shooting professionally for about 7 years. I have not made the full-time leap into the industry for a variety of reasons so a Lee Morris and Don Giannatti may rightfully label me as a high-end enthusiast, so be it. But, I believe there are a LOT of people like me out there, pursuing their path in photography with one foot planted on the dock of career safety and one dangling in the lake of uncertain creativity. Regularly reading Zack Arias' "Ask Me Anything" project on Tumblr reinforces my theory about how many of us are out there.

I have clients that I must delight same as any other photographer, full-time or not, but I haven't taken the plunge like many professionals, so I could rightfully be judged as not having as much (or enough) skin in the game as those guys. But, I have to buy gear like anyone else. I don't go into debt for my side business. I decided long ago, that if this interest couldn't at least pay for itself then going into debt for it was a huge mistake. This approach is starting to pay off. I'm able to stay current on my photo gear and get the results I, and my clients want, but it's certainly modest and grounded in reality.

This brings me to my relationship with Nikon and why I think what I do about what they have done well and what they have not. I started out buying a few of the Panasonic FZ series cameras but kept getting tired of buying a whole new camera to keep up with what I wanted to do. So I purchased my first dSLR, a refurbished Nikon D50 and some of the lenses I thought I needed. I got the Tamron 28-75 f2.8 (which I still have) and the original Nikon 18-200mm, which I sold after about 2 years. Once I started making money from my photography, I purchased the D200. Things started taking off and I then moved up to the D700. The D700 was my go-to workhorse for many many years. I got to the point where I really needed to have a legit back-up because I was working so often and my clients depended on me.

In my opinion, the D700 might be the best camera feature-for-feature-dollar-for-dollar Nikon has made since they started making dSLR's. When I was in the market for a new body my choice was either the D600 or the D7100. I decided to go with the D7100 even though I was really just looking for a modern version of the D700 - my reasons will pan out.

Some would say that the D800 is the legitimate replacement for the D700 but it certainly wasn't for me. The price and the file sizes as a result of the astronomic resolution simply eliminated this as an option for me. Instead of threading the needle of features like they did with the D700, Nikon decided to raise the bar very high with the D800 and then offer a fairly hobbled, entry level into full frame with the D600. The D800 made lucrative pros swoon and the D600 made a lot of pro-sumers glad but a for people in my sector of the business seemed to be left in a no-man's-land.

All I wanted was a full-frame option with the 51 point focus system that has been the standard for mid to high-end dSLRs for years and reasonable resolution (more than 12 but no more than 24 megapixels). I don't need 8 fps just good image quality. Combine this with the PR disaster that the D600 had with oil on the sensor from a defective shutter issue and the way they handled it with customers, the D7100 seemed the only way to go. I got everything I needed except full frame. I do miss the manual controls dedicated to things like ISO/Quality/WB, but those are not included on the D600/610 either. So, thanks again Nikon.

Flashes

The last Nikon brand flash I purchased was the SB-800. It was/is about everything you would ever want from a flash. My lighting setup comprises of 3 strobes. When my SB-800 tube died, I went shopping for a replacement. The SB-900's had come and gone and I was never tempted to even consider them given the price and the issue with overheating. Then, just like with the D600/610, they never really made it up to the suckers that bought the SB-900 and just released the SB-910, which solved the overheating issue but still priced higher than a Paul C Buff Einstein unit.

Are they insane? 

Of course, I could consider the SB-700, which is actually fairly reasonable for someone accustomed to the SB-800's but with no sync port for my PocketWizards, Nikon has crippled yet another fine product hoping you opt for the overpriced high-end equipment. Are you seeing a pattern here?

I ended up getting the new Yongnuo 560II flashes. I got three of them for less than half the price of a Nikon SB-910. I've used these a LOT. As long as I take good care of them, they seem to be performing really well. I will probably, eventually, replace them with the LumoPro LP180's if any of them die since my only real concern with them is durability and service.

The Nikon Df

So now to bring it full circle. You can understand my excitement regarding the announcement of a new full-frame body from Nikon. This could be the answer I've been looking for! Wrong.

• Again with the inferior 39 point focussing
• Virtually, same price as D800 with less resolution and features
• Convoluted controls
• I don't want to grow a handlebar mustache

What is Nikon doing right (if anything)?

My only praise of Nikon lately is: lenses. They've released some really interesting lenses that appeal directly to the group I consider myself in. New products like the 35mm f1.8 and 85mm f1.8 are top notch products and the only evidence that Nikon has been paying any attention to the needs of my sector of the market. But what the hell am I supposed to put these lenses on?! If Nikon had just put the sensor from the D600/610 in the exact same body as the D700, I would be singing from the mountain top. Instead, I'm ranting on a blog.

Make no mistake, I'm not opposed to paying for what you get. I've been burned over and over by "bargain" gear (like most of you probably have been). I'm not saying the Df or the D800 aren't worth what Nikon is charging for them. My point is that there is a large sector of the market that was so superbly served by a product like the D700 that it frustrates me that Nikon doesn't continue on that line - and as far as I know, the D700 was one of the most successful models offered by Nikon. I could be wrong but I certainly, personally know a lot of fellow owners.

Instead, they seem to be pushing people up or down.

Enter Fujifilm

During all this time of weighing options with Nikon, Fujifilm slowly starts dribbling out product after product that seems to be just what people are wanting. The X100 came out and people like Zack Arias and David Hobby start going on and on about how fun it is to shoot even with all it's quirks. I dismissed this as an expensive toy that pros like to pick up so they don't have to heave their medium format digital camera bodies around. Then something strange and weird happened: Fuji started listening to what everyone wanted and released firmware updates to address some of the issues and ultimately a successor, the X100s which seemed to address.... all of them. This even prompted Zack Arias to declare the end of the dSLR.

This seemed pretty bold to me, and a lot of people, at the time. Then Fuji released the X-Pro1 (technically, the X-Pro 1 was before the X100s but not many people really noticed it), then the X-E1, then the X-M1 and on and on, lowering the prices for each model giving customers the ability to choose what features they were willing to pay to enter the XF platform and the collection of gem lenses.

But all the while, I kept crunching the numbers of a scenario of me selling off my Nikon equipment and moving over to Fuji and the performance issues regarding focusing still nagged at me. Am I really going to show up at a professional shoot with a X-E1 in my hand? "No" I answered to myself. Then, they released the X-E2 and, just recently the X-T1 addressing each issue I've had for not switching.

So this is what it's like to have a company desperately want your business? Strange - I'm not used to this. 

I still haven't committed to the jump. But I have committed to picking the right test event to rent some Fujifilm equipment to see how it performs at weddings trying to get candid shots in a split second and, more importantly, get the lead singer in a poorly lit concert. If it comes close. I'm jumping.

Lighter weight, better skin tones and similar performance, how can I not? Am I crazy? You tell me.

Amy & Isaac Wedding

Here I am trying to atone for dereliction of blogging duty. I can't go back and blog everything I didn't include but I want to hit some recent highlights and there's no better place to start than Amy and Isaac.

This fun couple had their wedding and reception all in the same location in scenic downtown Greenville on a Sunday. They decided to have it at High Cotton overlooking the Reedy River, a prime location. Because we started out early and it was a Sunday, we had almost exclusive access to the Reedy River area for a first look and some pre-ceremony pictures. We were only interrupted by the occasional early runner, which is a funny story in itself.

You can view more from this great day on my website. Feel free to drop me a line on facebook, google+, my website or just shoot me an email.

Avett Brothers

Last month, I had the chance to photograph one of the hottest acts currently touring, the Avett Brothers. For this show, there was no opening act, just the main show. The stage was set very vintage/theatrical with a feel that reminds me of Needtobrethe, only more light (thankfully).

The main challenge for this show was to capture all the musicians with minimal room to move. Normally, I highly recommend that you move during shows to get different vantage points. This was an example of a show where that may not be possible so you work with what you have.

One of the unique qualities of this show was that the lighting from behind the artists was stronger than in front for most of the time. While this provided some challenges photography-wise, it also produced some surprising results like the shot below.

This was the last live concert show I have booked for a while and it was a great one. I'll be posting some recent wedding work next.

You can view more of images from this show on my website. Also, check me out on facebook, tumblr and google+. Or just shoot me an email and say hi!

Grace Potter and the Nocturnals with Futurebirds

Well, it's a new year and a good opportunity to breathe new life into the blog. 2012 closed quite well and I enjoyed a little rest during the winter - although not as much of a rest as I expected. I've had a lot of conversations with new clients but not as much time with my eye to my camera.

Time to rebuild those muscles and no better way to get back into the swing of things than a live show. If you are a loyal reader of my blog, you would have no way of knowing that the last show I shot was Wiz Khalifa because I didn't write anything about it. But you can't get much farther of a departure from the THC-laden spectacle of the Wiz-show than the smooth country-rock of +Grace Potter & the Nocturnals.

First a little inside baseball regarding photographing live concerts because I get a lot of questions regarding this kind of photography and I promised to eek in more information about what it is like to work this kind of event. Normally, I shoot concerts with about 3000-7000 in attendance. Typically, there is a gated aisle along the front of the stage separating the front row of standing general audience and the front of the stage affectionally referred to as "the pit" (Hi, I'm Chris, I work in a pit). Consequently, this is also where a lot of riser speakers are located which is why I always, always, always wear ear protection. Usually the stage is about 3-5 feet off the floor, which is great for the audience who wants to see the act, but can cause challenges for the photographers hunched in the trenches. This show, however was set up for 1000 people with a much lower stage and much more intimate feel - which is awesome providing amazing visual access to the acts - and a slightly increased chance of getting hit by a flying-v guitar from a leggy-blonde-lead-performer.

The opening act was a band I wasn't aware of prior to the show, Futurebirds. A local band made good from Athens, GA - practically in my back yard. They hit the stage soft at first and then raised the game with a lot of soulful and dynamic guitar solos and played their hearts out. This was their last show with +Grace Potter & the Nocturnals on this tour but was about to release a new album and I read the next day that they are joining Band of Horses  on their tour so it looks like they are really on the way up and a band to keep an eye on... or ears out for... or whatever.

Here's some shots of Futurebirds' performance - more can be found on my website:

Grace Potter started the show solo on stage and set the tone with high energy. The entire act quickly moved to different tempos and postures and it forced me to move from one extreme of the stage to the other to capture what was happening. Which brings me to concert-shooting tip #2, do that thing I just said, move around, get different perspectives. Shooting from the same spot is boring and all the shots come out looking too similar. Variety is the spice of life so sprinkle some on your body of work.

Lens changes were also the order of the day depending on where I was shooting from. I pretty much get 95% of my shots from just two lenses: Nikkor 17-35 f2.8 and 70-200 f2.8 V1. I occasionally pop on my 50mm f1.8 when the light is so low on shows like this but I was so close, that angle of view was a little tight in most cases and not long enough in other so I didn't use it much.

Enough chatty-chat and onto the pictures. More can be seen on my website.

Tech Corner: As per usual, shot all this using my Nikon D700, my go-to camera for concert work. I use manual exposure settings with spot-metering to get the initial settings. I also manually set the white balance to 5500K. Why? Because even though concert lighting is constantly changing color and intensity, the colors that veer so far outside standard incandescent values that it is worthless trying to let the camera attempt to match what will never be able to (super-oversaturated reds and blues). And even though concert lighting seems to be a crazy and chaotic disco-show, it really isn't when you break it down. Periodically chimping your shots to make sure your exposures aren't blowing out is a good idea. But once I get my exposure set, I rarely need to to much tweaking.

Things to look forward to are future shows coming up soon including the Avett Brothers and then some stuff on the wedding side that I'm looking forward to in various spectacular locations around the south so stay tuned.

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Elise & Jordan Wedding - Charleston, SC

I was contacted a while back by a fellow photographer, Dallas Galbreath who had recently moved back to South Carolina looking for a second photographer for a wedding in Charleston. I had worked with her several years ago when I was first dipping my toe into the wedding photography market and the chance to work with an experienced professional was a great opportunity - anyone thinking of getting into the wedding-world should look into this sort of work. 

While I don't shoot as much as a second shooter these days, I jumped at the chance to not only work with her again but to do a classic Charleston wedding (plus it was a good opportunity to see some friends, I mean, comeon, it's Charleston). 

Working as a second shooter is all about getting what the primary photographer can't. As anybody who's worked in this business, you can't be in all places at all times and you only get one chance at 98% of the moments happening at a wedding.

So here's my perspective on a day that casts the best possible light on a classic southern wedding day.

The ceremony was at St. Luke's Chapel and the reception was at the American Theatre. Afterward, we strolled down to the Waterfront Park for a final session. If you can deal with the standard weekend crowds, it is a perfect finish for that Charleston character. You can forget about parking and expect walking/running.

You can view more of this wedding on my website gallery.

Elizabeth & Kyle Engagement

A few weeks ago I was contacted by this very cute couple Elizabeth and Kyle. We discussed their plans and they really wanted to get engagement images soon. Kyle was set on getting some images at the Pendleton Oil Mill, a local institution in my little town. I was excited about this not just because it's only a block from my house but it is a treasure trove of old-south rustic (in some areas a little too rustic) settings. We got started about two hours before sunset to give us plenty of time but also the best light.

The time was so great, I was able to shoot available light a lot more than I am accustomed. Within a small area of the Oil Mill you can get several different looks and if you are careful to stay in certain areas is perfectly safe.

After a few hours of great shooting, Elizabeth and Kyle never complained and seemed to just keep going and going, we were having a great time. (photographer's note, in the south near dark in the summer, bring bug spray for your clients - and yourself). Even after all this time, the shots two hours into it, they were just as fresh and fun as the first frame.

We took a quick wardrobe change and tried to go to Clemson's Walker Golf Course but it was nearly pitch dark. We did manage to get a dramatic shot that I actually liked.

We later moved over to the reflecting pond in front of the Clemson University Library and I used three off-camera flashes bare for this. There were some focusing issues but I was really happy with some of the shots we got.

For the last segment of the session, I wanted to get a studio look. We found a white concrete wall under a set of stairs. I set up two flashes to blast the background for a clean white background and one flash using my Paul C Buff PLM umbrella to light them. I could've shot this all night, and they would've let me they were so fun.

Congratulations to Elizabeth and Kyle. If they can handle a 4+ hour engagement shoot with this much fun and energy, then they will have a happy life together.

Also a big shout-out to the best assistant I ever had, Rhonda. She knows exactly what to do and never complains even after being bitten by every insect known to man (and I think one or two that haven't been identified) and just smiles and even has some awesome suggestions. I'm a better photographer than her but she just knows people and sees things. An extra set of eyes is so valuable.