Ballin’

Sports photography is a hard nut to crack. Eye-hand coordination, and a love of the game are essentials. I had one of the two, but never warmed up to loving any sport. That is unless my daughter or grandson were involved. This fall my six-year-old was learning about baseball and I attended the “games” and spent the time snapping. I got the usual action snaps and avoided the parental coaches. I did a bad thing though. Got a wonderful snap of “eyes on the ball”, but the ball was missing. Since it was an overcast day, I didn’t have to worry about direction of the light, so I took the picture into Photoshop aka photoslop and pasted in a ball from an adjacent frame. Of course this is absolutely verboten in photojournalism for obvious reasons. This weekend I tried for a different angle and indeed got the shot with the ball in place. But, damn, I still feel guilty…

~John

What is normal?

85mm is how I see the world

Want to get a group of photographers engaged (enraged)? Just ask, what is a normal lens? Seems like a simple question and in the traditional lore the answer is simple. If you are talking about the full frame equivalent of 35mm film, that is, a sensor in the neighborhood of 24X36mm, you get a diagonal of about 45mm and this is usually rounded up to what is considered normal, 50mm. Logical, and in addition, 50mm is a nice size for a lens designer. These lenses can be made small or/and fast (that is they can have a very large aperture, ie f-stops of 1.2, 1.4, 1.8, 2.0. They also lend themselves to macro function. But normal is literally in the eye of the beholder. Some photographers love going wide, say a 28mm as the goto normal because that is how they see the world, from a wide view — let’s call it their peripheral vision. That said, if taken to an extreme, you could call 20mm normal, a 90 degree field of view. There is a drawback to using wide angle as normal though. Some dare call it laziness, aim the camera and get a lot of stuff in the frame. But using wide you get perspective distortion (depending on viewing distance — yes this can get esoteric) and things may look closer than they appear — as per the warning on your car’s rear view mirror. Conversely things close to the camera (noses!!!) appear huge — ask anyone using a wide angle camera on Zoom about this. Hence when using 24, 28, 35 lenses the photographer should consider these factors when composing their pictures. And of course much depends on subject matter.

Going wide requires a lot of discipline

Next is the traditional 40-60mm lens, for simplicity lets call this nifty-fifty. Here we get a pretty close proximity to the perspective we see as humans and and the design of the lens can be modified for light gathering or weight (and price). For me this is the worst of all combos, a compromise that fails. Oddly, versions of this focal length are wildly divergent in quality and optical characteristic. This is also wildly subjective. I can only speak to the ones I have used and read about. I like the old Nikkor 50mm f1.8 D lens, $100 and plenty sharp, but compared to the even older Nikkor 50mm f1.4 D lens it had no “character”. The f1.4 had a unexplainable creamy “look”, not as harsh as the f 1.8. It is so subjective. However, at least in Nikon’s case, the new mirrorless “Z” cameras are changing the paradigm in lens design. All the new Nikkor 50s are amazing, f.095, f1.2, f1.8, macro f2.8. Yes, four normal lens all of which are better than anything Nikon has put out in this focal length in the past (YMMV). I can’t address the look and feel of other brands (I have had Lecia 50mm lens, but that is a subject for a post on its own) but the idea of perspective doesn’t change. And I find the perspective uncomfortable, restricting in the angle of view yet still presenting an unpleasant closeup distortion to our not-to-be magnified noses.

Finally we have the long normal. 75-85-90mm. For me this is normal. When I look upon the world I see an 85mm perspective. Of course their is a peripheral world out there and yes, you have to be farther away from your subject to ge the same content. But more importantly the photographer has to consider what effect and what the they want portrayed when using this length. On the converse, it is actually easier to use these lenses to isolate and draw the viewer into what was “seen” by the creator.

Lots to parse here and many variables not mentioned. For me normal is dependent on the circumstance and the subject (as it should be). My preference is using two bodies, one with the 75-85-90 option (I currently use the Nikon ‘Zed’ 85mm f 1.8) and a second body with a 28-35 lens. With a 28mm and wider I have to work harder and be careful to compose with deliberation, A 35mm is much more forgiving. Nifty-fifty, meh.
~John

Nifty-fifty at f1.4 allows you to see in the dark

Greet a Friend, Meet a Friend, Make a Friend

Having made several long-distance train trips in the last few years it is great to have the opportunity to connect with fellow travelers. A sampling include Anthony, pictured above, who chatted with me on the platform in Albany, on his way to see family in NYC and then fly home to South Africa. My Swiss friend Jürg, whom I rode with from St. Louis to Austin, had crossed the Atlantic by freighter and was en route to Guatemala. Michelle, a retired nurse, was making the 80+ hour trip from Maine to San Jose to care for her 98 year-old mother. What do these folk have in common? I guess nothing more than an aversion to flying and, like me, a sense that being connected in the moment (as opposed to being ensconced in the virtual world of mobile phones, tablets and computers) has worth. As a grizzled traveler on a train from Chicago to Seattle once told me, ” I like the train, where else can you greet a friend, meet a friend, and make a friend.”

Train photo tip, take advantage of periodic “smoke breaks” to get off the train and mingle, everyone has a story to share and they are rarely opposed to being photographed. I find using my little point and shoot Lecia D-Lux7, as opposed to phone camera, adds a bit of “authority” to my impromptu portrait sessions, it is just as quick to use, and although far from the quality of a full-frame digital camera, it is hard to top for train candids.

~John

Monovision

The photographer looking at the world using a camera such as a DSLR is seeing in two dimensions. The depth proved by humans’ stereo vision, binocular sight, is not present when looking through a single lens. Monocular viewing also restricts the “field of view”. Using a camera entails capturing a slice of time with a fixed focal length; a purposeful selection of peripheral vision. A friend asked me why no one had invented a device that would allow you to see the world with a the field of view from 10mm – 500mm in a compact device.  The glib and accurate answer is, “you have two already”.  Seeing and thinking in “restricted periphery” is a skill which requires the exercise of concentrating on your sense of sight and using your knowledge of optics and photography — allowing you to visualize the world in every focal length — the ultimate in vision.

Peripherally, a colleague of mine early in my career, coincidentally named “Wink”, had an eyepiece diopter made to match his vision correction (ie his glasses) and used it on his Nikon F. When he needed clarity — precision — he would look thought the camera, his eyeglasses to the world. Wink lived life on the manic edge, so for him clarity was paramount. Most of us use our visual imaginations to sense and focus on the world photographically, avoiding the distractions and distortions created by the visual chum.

~John

Wild or Tame

  
On a recent visit to Pere Marquette Lodge for a winter get-a-way I felt like I struck the eagle jackpot when I photographed two immature birds at Audubon Center at Riverlands. Always inspiring to see animals in the wild. The next day on a lark (sorry) we decided to stop by the nearby Treehouse Wildlife Center where, guess what, there were eagles!!! Got up close and personal. Seemed like a trifecta, a great winter overnight stay and two fun pictures.
~John

Hey Guys

Vlogging. The winter solstice is approaching and daylight is in short supply making YouTube a welcome (?!?) distraction. I have become slightly addicted to new friends who tell me all the ways I can improve my photography. I watch my buddy in Denmark, my bestie in the UK, my Floridan birder, and several others in unknown mountainous areas.  There are a several variations  — walk, talk and show examples simultaneously; walk and talk and show results later; mix and match, and of course blatant salesmanship. The levels of expertise vary and the production values generally improve with each episode.  Sad to say a few seem to be putting so much time into Vlogging that they no longer make interesting photographs. And it is understandable. Try carrying a video camera (phone, mirrorless, GoPro) on a stick while tracking wildlife, NOT!  The merry vloggers all say, “hi guys” when the camera starts to roll (although there are a few gals), and most are clearly new to the concept of what we of a certain generation call “film”. They don’t know about story-boarding, complex editing, and most glaringly, the fact that you don’t have to be linear when making a “movie”.  They do know gear and relish explaining (mansplaining) in excruciating detail the megapixels, millimeters, and flaws of every bit of kit including clothes, cameras, lenses, bags, microphones, computers, etc. Excuse me if I am being harsh, I do look forward to the segments and they are often inspirational and informative, but I sometimes wonder if the vloggers are just lonely. Think about it, spending hours waiting for the mountain hare, the red-crested boobie, the cowardly lion; often in the worst possible weather, in waders, or in a stinky blind — a solitary undertaking. What I am waiting for (and what is no doubt already extant) is photo vlogging via Twitch; real-time sharing the hours toting 45 pounds of gear up a mountain side to no avail; did I mention non-linear editing? Heroic outcome for a dubious undertaking.

Flukes on Demand

Some pictures can be planned. I remember visiting Nick Vedros in his photo studio in Kansas City in the 1980s and watching him create a photo which previously existed only in his mind’s eye. Just amazing. I, however, depend on serendipity. I didn’t set out to make a timeless view of a little boy exploring the world;  I was babysitting for my grandson Walter and I grabbed a pair of jean shorts two sizes too big and one of my adjustable oversize hats and it was off to the park. Only after reviewing the usual daily snapshots did I discover that I had not photographed an 18-month-old toddler but a mini Tom Sawyer circa 2018. No, creating a photo from my imagination is not my forte. Let’s be generous and call it a conscious fluke.

Furry Tail Fling

Levitating squirrel leaves only a trace of tail – too quick for me. I have become slightly obsessed with wildlife in the last month – many robin pictures, too many hummingbird pictures, many missed egret pictures. On cold grey days I have watched Youtube videos of photographers showing off their super long camo-covered lenses and sharing their tips for capturing BIF (birds-in-flight). I suspect my interest will soon return to the species I am most familiar with – Homo sapiens.
~John

Last of the Snow

Mid-winter and a trip to the zoo, pretend you are in the savannah, lions and tigers and bears – oh my! But best of all was this tiny remnant of winter – a snow sculpture on the rail in front of the zebra enclosure. Hooray for whimsy!

Just Say No

Celebrating my grandson’s one year birthday I made many snaps. I like being on his level and showing the world from his point of view. Why say no? I took about 150 exposures (while stuffing myself with chilli and birthday cake) but I usually respond to requests to “see them all” or “what else did you take?” by sending the media-hungry a lone picture. Why? Not with animus, but simply to stay vigilant to my audience.  There is a excessive amount of visual pollution and I want to make sure I am not adding to the visual cacophony; and I do that by ruthlessly editing/culling my take.
~john

Simon & Paul

Punchy Profile

Shameless grandchild show-off. I just had the urge to make a picture of Walter and decided to isolate the cheeky chum with my Nikkor 180mm f2.8 wide open and D610 camera. Super simple set-up with a Nikon SB800 flash through a soft box, 12 quick frames and bingo!
~John

Flight of Fancy

Does a paradox stimulate creativity?  I was thinking this morning of the teacher who said, in seeking enlightenment, you cannot fail.  Unless you think you cannot fail…    but the enlightenment is already within you, so…

~Paul

The Nose Knows

By a nose…   Went to the Fairmount Park Racetrack to wager on the ponies (ha ha, those $2.00 bets add up) and dragged along the big tele zoom. Only got a handful of snaps and was happy with this capture. But this is the kind of photo that would drive me crazy as a photo editor; keep the context, or get really close on the jockey’s intense face?

~John

Run, Don’t Walk

I guess this is the reason I am not a very successful commercial photographer; I go to an event and take a few hundred exposures and in spite of my best intentions I am subconsciously looking to get one “keeper”.  Oh sure, I do yeoman’s work, cover the bases, get the cliches, but dang it, I never really get excited about the commercial aspect — I am always striving for that one memoriable picture. I blame this on the uber competitiveness of University of Missouri’s photojournalism program, not so much the formal classwork, but the informal one-on-one (or dog-pile five-on-one) absolutely brutal critique sessions. And, of course I wouldn’t have had it any other way.
~john