Category Archives: Lenses

Anticipation

NAU quarterback Chase Cartwright releases a pass toward receiver Ify Umodu

NAU quarterback Chase Cartwright releases a pass toward receiver Ify Umodu. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 200mm f/2.8, ISO 4500, 1/1000-second. (Bill Ferris)

Sports photography is one of those disciplines where there is just no getting around the fact that the gear you need to consistently make great photos is expensive. Scan the sidelines at an NFL game and you’ll find twenty or more photographers. Each brings at least two camera bodies and numerous lenses to the game. Many will be shooting either the Canon 1DX or a Nikon D4s. The two most common lenses are long, fast telephotos: 300mm f/2.8 and 400mm f/2.8. If some conniving super thief were to devise a scheme to steal all that gear, they’d easily walk away with over $1 million in kit.

Why is sports photography so expensive? It all boils down to one thing: speed. The sports photographer needs a fast camera and fast lenses. The top Canon and Nikon professional camera bodies have burst rates in excess of 10 frames per second. In a profession where the job is to capture the defining moment and where the players have world-class size, strength and speed, the difference a tenth of a second can make is astounding. In that brief instant, a player can go from diving for the goal line to fumbling the football. The sports photographer needs a camera capable of capturing that moment.

Because of the speed at which the game is played, a sports photographer needs to use very short exposures to freeze the action. Yes, there are situations where a slow shutter speed can allow you to make an image that perfectly captures the astounding pace of the action. But in most circumstances, the objective is to freeze action. Exposures of 1/1000-second or faster are commonplace. To shoot at 1/1000-second, you need lenses that collect available light in big, slurping gulps.

A 400mm f/2.8 lens drinks light with gusto. It focuses in a blink and follows focus even as the player with the ball is doing everything possible to elude both you and the other team. It also delivers images having a very shallow depth of field. The subject is sharply focused but the background has a pleasing, soft creaminess. This creates separation between the subject and background, making for a better photo.

To shoot at 1/1000-second in an indoor stadium or at night, you need a camera body that makes great images with a minimum of light. To accomplish this demanding task, your camera sensor needs to make clean images at ISO’s of 4000 or higher. While the lighting at professional venues is typically pretty good, the light level at a collegiate venue is often much lower. The light levels at high school football stadiums makes you wonder how the players can find the end zone without using a flashlight. There is no escape from this. If you use longer exposures to allow the sensor time to collect more light at a lower ISO, the athletes will be blurred and the detail lost. Even indoors or at night, the sports photographer needs speed.

This level of performance is unavoidable and it’s not cheap. Are you familiar with the old phrase, “Cheap, fast and good; pick any two.” In sports photography, there is no such thing as cheap…not if you want to make great images.

Having the right equipment is only the start. The most critical tool available to the sports photographer is something that cannot be bought. That critical tool is knowledge and there is no substitute. If you know the game, you have the ability to anticipate where the next play is going. If you can anticipate where the next play is going, you have the opportunity to position yourself, to focus on the right athlete or place on the field and to be there ahead of all the other photographers to capture the decisive moment in the contest.

NAU running back Casey Jahn looks to turn a run north-south

NAU running back Casey Jahn looks to turn a run north-south. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 200mm, f/2.8, ISO 3600, 1/1000-second. (Bill Ferris)

I recently had the opportunity to photograph my first NCAA football game. I’ve been a sports fan – particularly football – most of my life and have been working professionally in televised sports coverage for 25 years. In other words, I know the sport and I know what makes for a great sports image.

My photographic equipment can be accurately described as pro-sumer. I shoot with a Nikon D610 digital SLR camera body. Nikon classifies this as an Enthusiast level camera. The 24 megapixel full-frame sensor is among the best available in any digital camera. I’ve shot with it at ISO 6400 and been very pleased with the quality of the images. The 39-point auto focus system is good – not great, just good – and the burst rate is a respectable 6 frames per second. The buffer allows me to shoot at continuous high burst for 2-3 seconds before the camera will start choking on new image files.

Like most of you, I’m on a budget. So, when I made the move to full-frame, I went with third party lenses to maximize both performance and value. The Tamron line of f/2.8 Di VC USD lenses deliver both. I am primarily a landscape photographer who does occasional portraiture. The Tamron glass gives me a range of focal lengths and apertures that meet the needs of both disciplines. Best of all, they deliver excellent image quality at a fraction of the cost of the equivalent Nikon lenses.

I used the Tamron 70-200 f/2.8 Di VC USD zoom with my Nikon D610 body to shoot the football game. The D610 was set to aperture priority and I shot at f/2.8 throughout the game. I also used the D610’s auto-ISO feature to configure the camera to use a 1/1000-second  shutter speed and choose the ISO that would allow for the proper exposure. Auto focus was set to AF-C (continuous servo), with 9 central auto focus points selected. I did experiment a bit with offsetting the auto focus points to the left or right (top or bottom when shooting in portrait aspect) but invariably came back to the central auto focus point. I also experimented with the D610’s continuous focus lock setting, ultimately choosing a setting that is slightly more responsive to motion than the default configuration.

The first decision I had to make was where to position myself for the opening kickoff and first offensive series of the game. Now, I am an NAU employee and support my Lumberjack sports teams. That said, Eastern Washington entered the game as the 2nd-ranked team in FCS football. They were 7-1 on the season with their only loss being a 52-59 decision against the Washington Huskies. To be perfectly candid, I expected the Eagles to put up a lot of points against NAU so, I set up at the end of the field where they would be scoring. This decision paid off as Eastern Washington’s first touchdown of the game was scored at that end. Unfortunately, while reviewing the shots I’d made of the play, I realized a corridor labelled, RESTROOMS, was the prominent background element in the images. Note to self: always be aware of your background.

As the 1st quarter progressed, it was clear that NAU had come to play. They weren’t intimidated by Eastern Washington and were gradually building momentum. So when the end of the quarter arrived, I decided to stay at the south end of the field to be in position to capture a Lumberjack touchdown. That proved to be the right decision as, early in the 2nd quarter, NAU quarterback Chase Cartwright hit receiver Beau Gardner in the end zone for the Jacks’ first touchdown of the day. For that score, I was positioned to photograph the celebration with NAU cheerleaders and fans in the background.

Eastern Washington's Cooper Kupp skies over NAU defender Marcus Alford to score a touchdown

Eastern Washington’s Cooper Kupp skies over NAU defender Marcus Alford to score a touchdown. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 90mm, f/2.8, ISO 4500, 1/1000-second. (Bill Ferris)

The Eagles blocked the extra point attempt and the two teams battled to a standstill for the next 8:00 as Eastern Washington held a narrow, 7-6, lead. Sensing that the Eagles were slowly reclaiming the momentum, I hustled to the north end zone to position myself for a possible Eastern Washington score. My instincts paid off as Cooper Kupp found the land of milk and honey on a 14-yard pass from Jordan West. I was positioned at the back corner of the end zone and had a great view of Kupp leaping over the pylon for the score. NAU battled back, scoring two field goals in the final 5:00 of the 2nd quarter to cut the EWU lead to, 14-12. Recognizing the shift in momentum, I moved to the south end of the field and made some nice photographs of Northern Arizona’s final drive of the half.

During halftime, I weighed the question of which team would come out of the locker room having made the correct adjustments. I gambled on NAU and set up at the north end zone. Almost immediately, I was questioning the decision as Eastern Washington marched right down the field. But the Jacks held them to a field goal and, on their next possession, Northern Arizona quarterback Chase Cartwright led the team on a drive that culminated on a 1st & goal from the 3-yard line. Seeing receiver Ify Umodu breaking out to my side of the field, I rolled the dice again, isolating on Umodu on the next play.

As a result, I completely missed a touchdown pass to NAU’s Alex Holmes. In hindsight, I should have continued employing the technique that had been working throughout the day of focusing on the quarterback, reading his body language after the snap and breaking for the receiver on the throw. I also decided I had been over thinking the game since the start of the half. So, I returned to a mode of trusting my gut instinct on where to go for the next series and then being smart about following the development of the play.

NAU's Eddie Horn grabs a handful of facemask to prevent Eastern Washington's Quincy Forte from reaching the end zone

NAU’s Eddie Horn grabs a handful of facemask to prevent Eastern Washington’s Quincy Forte from reaching the end zone. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 112mm, f/2.8, ISO 5600, 1/1000-second. (Bill Ferris)

This strategy paid off on EWU’s next possession. I had gone back to the other end of the field, setting up on the Eastern Washington side. Running back Quincy Forte powered his way to the 1-yard line before being tackled by the face mask. I had a perfect angle on and view of the face mask tackle. On the very next play, Forte forced his way into the end zone right in front of me.

Eastern Washington had a 24-19 lead and the teams battled back-and-forth, trading field goals over the next 15-minutes. It was during the 2nd half that I identified the spot where I wanted to be when the game ended. The location offered two great options for backgrounds. One, was the NAU bench on the opposite side of the field. The other option was the NAU cheerleading squad along the back of the south end zone. Either would make a perfect background, if the Jacks were able to score a late touchdown to win the game.

When the Eagles took possession of the ball with 4:37 on the clock, I sensed a game-clinching score coming and worked my way through the EWU bench to the north end of the field. Facing a 4th & 4 at the Northern Arizona 23 yard line, Eastern Washington burned two timeouts in succession before going for it.  A conversion would have allowed the Eagles to run out the clock but Jordan West’s pass to Cooper Kupp fell incomplete.

The final seconds were setting up exactly as I’d hoped: Northern Arizona had the ball on their own 23 with no timeouts and :47 left on the clock. They needed a touchdown and would have to be aggressive in their play-calling. So, I hustled back to my spot at the south end zone and waited for the magic to happen.

With 12-seconds left in regulation, NAU's Dan Galindo hauls in a Jordan Perry pass to score the game-winning touchdown

With 12-seconds left in regulation, NAU’s Dan Galindo hauls in a Jordan Perry pass to score the game-winning touchdown. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 70mm, f/2.8, ISO 8063 (Hi 0.3), 1/1000-second. (Bill Ferris)

On NAU’s second play, backup quarterback Jordan Perry completed a toss to Alex Holmes who sprinted 54 yards before going out of bounds at the Eastern Washington 20 yard line. On the next play, Perry took the snap and immediately looked to his left and my side of the end zone. As he cocked his arm and released the ball, I instinctively panned to pick up true freshman Dan Galindo breaking open across the goal line. Galindo was right in front of me as he cradled the ball, rolled across the turf and sprang up in celebration. With :12 left in the game, Galindo had just scored the go-ahead touchdown.

A huge celebration ensued as Galindo was surrounded by teammates. Team mascot, Louie the Lumberjack, even joined in. Cheerleaders and fans were frantic with joy. The Skydome was filled with the roar of fans who knew they were witness to something very special. Northern Arizona was about to defeat the number two team in the country. But there was more work to be done. NAU went for a 2-point conversion and failed. They squib kicked on the kickoff and Eastern Washington’s offense took the field with just :07 remaining. Their final desperation play ended when NAU defensive back Darius Lewis intercepted a backwards lateral and ran with the ball until time expired.

I immediately ran onto the field to capture the bedlam and ecstasy of the win. After making a few exposures with the 70-200, I ran over to my camera bag to exchange the telephoto zoom for the Nikon 16-35mm f/4 VR. I used this wide angle zoom to document the post-game celebration.

Jerome Souers, acknowledges the crowd after the comeback win versus Eastern Washington

Jerome Souers, acknowledges the crowd after the comeback win versus Eastern Washington. Photograph made with Nikon D610, Nikon 16-35mm f/4 VR at 30mm, f/4, ISO 5000, 1/1000-second. (Bill Ferris)

In hindsight, there are two lessons I took from this experience. The first is the importance of knowing the sport you’re shooting. Understanding the game and having the ability to anticipate what will happen next are critical to getting great photos. This is particularly true if you are limited to shooting with a relatively short focal length. (200mm is pretty short for football and other outdoor sports.) The second lesson is the value of choosing a location that allows you the opportunity to make a great photograph. Envision the scenario you would like to capture, go to the best spot for capturing that moment and allow the game to come to you. Of course, there is no guarantee things will play out as you want. That’s where your talent as a photographer comes into play. You’re there to document the event as it happens so, do your best with the cards you’re dealt.

Whatever your sport, whatever your photographic passion, today is a new day. It’s time to get out and shoot.

Bill Ferris | October 2014

Vibration Compensation

AFP sign photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8 with Vibration Compensation engaged.

AFP sign photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8 with Vibration Compensation engaged. (B. Ferris)

In the Nikon universe, it is referred to as vibration reduction. In Canon parlance, it is called image stabilization. In other worlds, it is referred to as vibration compensation. However you say it, the ability of modern lenses and cameras to compensate for the inherent shakiness of hand-holding your camera to make a photograph has been a significant and positive development in the art form of digital imaging.

To take a closer look at and better understand vibration compensation technology, I decided to set up a test. I used my Nikon D610 camera and a Tamron 70-200 Di VC USD zoom lens to make a series of photographs. The photographs ranged in exposure length from 1/25-second to 1/4000-second. I made at least two exposures at each length, one with the Tamron lens’s vibration compensation engaged and active, and the other with vibration compensation disengaged. For exposures between 1/100-second and 1/2000-second, I made two sets of exposures with VC engaged and disengaged.

I chose a yard sign as the photo subject. The sign features bold lettering against an off-white plastic surface. I set  up the sign in my garage in the shade so it would be illuminated by a soft, even and constant light level. I then set up a folding camp chair in the driveway about six feet from the sign. With the Tamron lens set to 200mm, I began making exposures.

I used the camera’s auto ISO setting to make the exposures from 1/100-second to 1/2000-second, first. With the D610 in aperture priority, I would set the minimum shutter speed at the desired exposure length. Then, I would adjust aperture until the camera would select an ISO that would produce an exposure of the desired length. The D610 will not make an exposure shorter than 1/2000-second in auto ISO so, I put the camera in manual mode to make the exposures at 1/4000-second. Here, are the settings used to make each shot:

  • 1/25-second: Two exposures, one with VC on and the other with VC off. Both at ISO 100, f/25
  • 1/40-second: Two exposures, one with VC on and the other with VC off. Both at ISO 110, f/20
  • 1/100-second: Four exposures, two with VC on and two with VC off. Two at ISO 125, f/11. Two at ISO 100, f/11
  • 1/200-second: Four exposures, two with VC on and two with VC off. Two at ISO 125, f/8. One at ISO 200, f/11. One at ISO 220, f/11
  • 1/400-second: Four exposures, two with VC on and two with VC off. Two at ISO 250, f/8. One at ISO 160, f8. One at ISO 100, f/8
  • 1/800-second: Four exposures, two with VC on and two with VC off. Two at ISO 250, f/5.6. One at ISO 140, f/5.6. One at ISO 110, f/5.6
  • 1/1000-second: Four exposures, two with VC on and two with VC off. Two at ISO 320, f/5.6. One at ISO 160, f/5.6. One at ISO 120, f/5.6
  • 1/1250-second: Four exposures, two with VC on and two with VC off. Two at ISO 400, f/5.6. Two at ISO 200, f/5.6.
  • 1/1600-second: Four exposures, two with VC on and two with VC off. Two at ISO 500, f/5.6. One at ISO 220, f/5.6. One at ISO 250, f/5.6
  • 1/2000-second: Four exposures, two with VC on and two with VC off. Two at ISO 640, f/5.6. One at ISO 280, f/5.6. One at ISO 320, f/5.6
  • 1/4000-second: Two exposures, one with VC on and the other with VC off. One at ISO 640, f/5.6. One at ISO 500, f/5.6

I performed the test for several reasons. One, was to see for myself the extent to which vibration compensation delivers sharper, more detailed images than those made with without VC. Also, I wanted to test a couple of assertions made by photographers who don’t use vibration compensation when shooting at fast exposure rates – 1/1000 to 1/1600 or faster. The usual thinking is that VC offers no benefits at such fast exposures. Some even claim that VC introduces blur when engaged at fast exposure rates.

The results of the above test do not support either claim, not in the least. At all exposures, the images made with vibration compensation turned on appeared sharper and more detailed than those made with VC disabled. Even the VC-engaged image made at 1/4000-second was noticeably sharper than the strictly handheld image made at the same rate. Below, are 100% crops of several exposures. They are JPEG conversions from unprocessed RAW files:

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8, ISO 125, 1/200 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8, ISO 125, 1/200 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8, ISO 125, 1/200 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/8, ISO 125, 1/200 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 160, 1/1000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 160, 1/1000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 140, 1/1000 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 140, 1/1000 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 280, 1/2000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 280, 1/2000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 320, 1/2000 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 320, 1/2000 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 640, 1/4000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 640, 1/4000 with Vibration Compensation engaged.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 500, 1/4000 with Vibration Compensation off.

Photographed with Nikon D610 and Tamron 70-200 Di VC USD zoom lens at 200mm, f/5.6, ISO 500, 1/4000 with Vibration Compensation off.

Based on the results from this test, I am persuaded to keep vibration compensation engaged whenever shooting handheld and regardless of the length of the exposure. Doing so will not introduce blur or distortion and will probably result in a sharper, more detailed photograph.

But don’t take my word for it. See for yourself. Get out and shoot.

Bill Ferris | October 2014

Camera Wars!

sony-a7_front_medium nikon-d610_front_medium

(Camera equipment photos used courtesy Sony USA and Nikon USA, respectively)

When the world’s leading travel photographer describes the competition between digital single-lens reflex cameras and mirrorless digital cameras as a war, you can almost hear the rush as members of the larger photography community pull up chairs to settle in for the show. Well, here’s a radical notion. I’m going to stand and join the discussion. And I do mean discussion. I have little time or interest in the hyperbolic frenzy over supposed camera wars. My interest is in the two technologies, their respective advantages and disadvantages.

The first thought that comes to mind is a question, why does this topic engender such passion? First and foremost, a camera is a tool. The bottom line with a tool is, does it allow you to do your job, to complete the task? The single-lens reflex (SLR) design has allowed photographers to make amazing images since the late-1950’s. Anyone who would dispute the usefulness of this design is deceiving themselves. As a purely practical matter, there is no real debate. SLR technology works and works well.

Of course, a camera is more than just a tool. It is also an artistic device. Photography is many things, including an artistic medium. A camera is to the photographer as the brush is to the painter, the chisel to the sculptor or the pen to the writer. Where artists reside, there too resides passion. Passion fuels our creative ambitions and our arguments. So, while watching photographers arguing over SLR versus mirrorless technology, bear in mind that the passion and hyperbole are more a reflection of the people than the technology being debated.

We should also keep in mind the camera’s role as a fashion accessory. Some photographers wear their cameras with a similar feeling of pride as a first responder or athlete in a uniform. The camera signifies a person’s status as someone for whom photography is more than just a hobby. It is a profession and a passion.

While I acknowledge that passion has a place in vigorous debate, I would argue that it should not be allowed to dominate the discussion. Arguments are neither advanced nor won by being the one to scream the loudest. It is rationale that prevails. At the very least, being the rational one in the room offers a reasonable chance of being taken seriously.

So, let us set passion aside and engage in the debate.

Kodak Brownie Flash III ca. 1957

Kodak Brownie Flash III (ca. 1957)

First, a little background. George Eastman’s invention of the Kodak box camera in 1888 effectively launched the era of the amateur photographer. For more than half a century starting in 1900, the Brownie camera anchored Eastman Kodak’s position as the dominant US company in amateur camera and film sales. The Brownie was simple, could be taken anywhere and was priced for the consumer. Kodak earned a profit by selling you the camera. They made billions through the sale of film the camera used to make photos.

Let’s fast forward to the present day. The smartphone has fundamentally changed how people capture and share special moments. More often than not, when a person reaches for a camera to take a picture, they reach for their smartphone. Of the 1.8 billion cell phones sold worldwide in 2013, nearly 1 billion were smartphones. Smartphone cameras are capable of making excellent pictures and, with access to the Web just a button push away, it is incredibly easy to share your smartphone photos with family and friends. In short, the smartphone is the Brownie camera of the 21st Century.

The emergence of the smartphone as the camera of choice for most people has resulted in a dramatic collapse in compact camera sales. Since 2010, compact camera sales have plummeted by more than 50% from a peak of 112 million units (2010) to just 50 million in 2013. The digital revolution has also produced a fundamental change in the lives of professional photographers. The first decade of the 21st Century marked the rise of the interchangeable lens digital SLR (DSLR) camera as the predominant professional and serious amateur camera in the world. DSLR sales peaked in 2011 at 16 million units. DSLR sales have since declined to 14 million units in 2013 and that trend is expected to continue. (For a deeper discussion of the current condition and future of the digital imaging industry, visit photographer Thom Hogan’s website at http://bythom.com/)

In a moment of unsurpassed irony, the Eastman Kodak Company filed chapter 11 bankruptcy protection in February 2012. Although Eastman Kodak had developed the core technology used in today’s DSLR cameras, they were slow to embrace this emerging technology and ended up paying the ultimate price for their complacency.

The last few years have seen the emergence of a newcomer to the world of photography: the mirrorless digital camera. In a nutshell, mirrorless cameras replace the optical viewfinder of the single-lens reflex (SLR) design with an electronic viewfinder. As a result, mirrorless cameras have no internal mirror or pentaprism redirecting an image of what is being photographed to an optical viewfinder. Mirrorless cameras use pixels on the main sensor to generate and display an electronic image on a screen. Manufacturers have leveraged this technology to make mirrorless cameras physically smaller and lighter in weight than their SLR counterparts.

According to some industry observers and analysts, the advent of the mirrorless camera sounds the death knell for the tried and trusty DSLR. There are even predictions that Nikon and Canon will soon be marginalized as still camera manufacturers. So, are Canon and Nikon really going the way of Eastman Kodak…to the trash heap of history? Will the SLR camera body be all but forgotten five years from now? My answer to both questions is, no.

If you compare performance in terms of image quality, mirrorless technology offers nothing new, nothing better. Full-frame mirrorless cameras are built around the same sensors used in full-frame DSLR cameras. Resolution and low light performance in both are essentially equal. This should come as no surprise. After all, the electronic viewfinder is new technology for viewing and composing the scene to be photographed. This new technology has nothing whatsoever to do with the sensor and image processing done by the camera.

In the absence of a marked improvement in image quality, what motivation is there for DSLR owners to move to mirrorless? What barriers must be overcome in persuading a photographer to make the change?

As you move up the scale from photography enthusiast, to passionate amateur to professional, cost becomes an ever increasing barrier to any photographer’s decision to change formats or brands. Making such a move involves more than replacing a single camera body. For the serious amateur or professional, it involves replacing multiple camera bodies and thousands of dollars in premium lenses. Unless a new format or system is able to deliver obvious and significant improvement in image quality, there will not be a rush to embrace that new product.

An overhead view of the Sony A7, a full-frame, 24 MP mirrorless digital camera

An overhead view of the Sony A7, a full-frame, 24 MP mirrorless digital camera

In marketing this new technology, mirrorless camera makers have focused on the inherent size and weight advantages of the design. In 2013, Sony introduced two full-frame mirrorless digital cameras. The Sony A7 and A7R are built, respectively, around 24 megapixel (MP) and 36 MP sensors. The 24 MP Sony A7 weighs 40% less than the 24 MP Nikon D610. The 36 MP A7R weighs less than half as much as the 36 MP Nikon D800. So, how much do digital camera owners value the smaller size of these Sony mirrorless cameras? During the 2012 sales year, mirrorless bodies accounted for 24% of interchangeable lens camera sales. In 2013, mirrorless bodies accounted for…24% of interchangeable lens camera sales. Thus far in 2014, mirrorless camera sales are slightly ahead of 2013 and slightly behind 2012.

While mirrorless has garnered a significant portion of market share, sales figures over the last two-plus years show no mass migration of SLR owners adopting this new technology. The biggest reason, is that neither Canon nor Nikon – who collectively dominate interchangeable lens digital camera sales – have adopted mirrorless technology for their flagship camera bodies. The millions of Canon and Nikon shooters around the world have billions of reasons not to make the jump to another brand of camera. If the cost to make the switch to Sony (or Panasonic or Olympus) isn’t going to result in obviously better photos, why jump ship?

Another barrier to the mass migration of DSLR owners to mirrorless, is the American cultural preference for big things. Whatever the reason, Americans prefer their houses, cars, TV’s and cameras to be big. In the world of photography, this is influenced to some degree by what we see the pros using. Professional photographers set the standard by which others judge the equipment they purchase. If the wedding photographer is shooting a Canon or Nikon DSLR, that is the camera the aspiring wedding shooter will covet. The same goes for aspiring sports and editorial photographers. As long as the professionals continue to shoot with relatively large SLR bodies, that technology will continue to lead in market share.

Personally, I see Canon as the key to this variable. Canon is a leading manufacturer of lenses for both still and video cameras. Sony is the world’s leading manufacturer of professional video cameras. It is very common to see Canon lenses on Sony cameras in television studios and at athletic events. If Canon were to commit to developing a full line of professional quality lenses optimized for mirrorless camera bodies, that would force Nikon to do the same. With the big two on board, mirrorless would soon dominate the industry.

However, if Canon remains committed to the SLR design for their flagship bodies, that design will retain the lion’s share of the market. Not forever, perhaps, but certainly for the immediate future.

Another reason enthusiast photographers are not racing to buy mirrorless, is that mirrorless camera marketing places this technology in direct competition with the smartphone. If compact size and low weight are priorities for a photographer, the best option may not be a specialized digital camera. Potential customers can easily address these considerations by simply using their smartphones for all photographic needs.

We should also consider the objective advantages offered by the SLR design. Let’s start by comparing viewfinders. Video lag is an aberration all electronic viewfinders must address. Lag, is the delayed response of the electronic viewfinder in displaying changes taking place within the field of view. An optical viewfinder has zero lag. As you pan from side-to-side or tilt up-and-down, an optical viewfinder shows you exactly how the scene looks and does so, instantaneously. Mirrorless cameras have to translate that view into an electronic signal and display it on a screen. This takes time. If too much time, the electronic viewfinder will suffer from seriously annoying lag.

The Sony A7 battery compartment

The Sony A7 battery compartment

Electronic viewfinders also require power while a DSLR does not need to power an optical viewfinder. A physically larger DSLR may weigh more but one of the benefits is a larger, more powerful battery. This combination of a larger battery and reduced power draw allows the DSLR to take two- to three-times as many exposures on a single charge as a mirrorless camera. To take the same number of exposures with your mirrorless camera, you’ll need to carry more spare batteries. Batteries take up space and add weight. The size and weight advantage of the mirrorless design isn’t as significant as it first appeared.

Let’s talk about storage. High end APS-C and full-frame DSLR camera bodies typically come with two media card slots. A physically smaller, mirrorless camera may have just one card slot. That second card has many potential uses. It can be used to back up all your exposures. You could save still images on one card and videos on the second. You could simply use the second card as overflow and effectively double the number of exposures you can take, before needing to change cards. None of these options are available when shooting with Sony’s full-frame mirrorless bodies. You do have the option of connecting that mirrorless camera to an external storage device. However, that would take up space and add weight, further reducing the most-cited advantage of the mirrorless design.

Let’s talk about focus. DSLR cameras typically employ phase detect focus systems. In a nutshell, phase detection is a process by which the camera splits the incoming image into two displays, compares them and adjusts focus until both displays match. Phase detection measures the distance to the subject and tends to be pretty fast. Mirrorless cameras typically use contrast detection focus systems. The camera compares adjacent pixels and adjusts focus until contrast between adjacent pixels is maximized. Since the camera doesn’t know the distance to the subject, finding that accurate focus point can take longer.

Since phase detect and contrast detect systems make different performance demands of lenses, a lens optimized for use with one focus system may not work as well with the other. With mirrorless technology still being relatively new, the selection of lenses optimized for that design is limited. This is something that will be addressed over time but the question is, how much time?

Sony A7 with adapter and Sony 70-400G lens

Sony A7 with adapter and Sony 70-400G lens

Speaking of lens availability, there are adapters that will allow you to mount your existing Canon and Nikon glass to a mirrorless body. Mounting a premium 70-200, f/2.8 zoom lens to a mirrorless camera adds about 3.5 pounds to the system weight. An adapter will be needed, which adds additional weight and introduces optical aberrations. This is not a package that can be carried in a pocket or purse, and the weight advantage of the mirrorless body is now almost completely negated. The mirrorless system will still weigh a pound less than the DSLR system, but the total weight of either could hardly be described as anything but heavy.

Let’s talk about size and weight. Less of both is not always a good thing. The buttons and controls on a mirrorless camera body can be small and closely spaced. This is not an advantage for people with large fingers or limited manual dexterity. Also, a lightweight camera body has less inertia. In other words, less energy is required to get the camera moving. When shooting handheld, a mirrorless camera is more susceptible to shake and vibration. This puts the lighter camera body at a disadvantage in comparison to a larger, heavier DSLR camera.

To summarize, mirrorless and SLR digital full-frame cameras are built around the same sensors. As a result, both designs have the potential to deliver equivalent image quality. While the mirrorless fanboy will say, “Look, my camera takes pictures just as good as yours,” the DSLR fanboy will reply, “Why should I spend thousands to switch to a camera system that doesn’t take better pictures?”

Mirrorless camera manufacturers market their products as offering a significant reduction in size and weight in comparison with DSLR cameras. This marketing strategy reminds consumers that the smartphone in their pocket offers a no-cost, no-additional weight option. By comparison, DSLR bodies have a decided advantage in battery life and image storage capacity. Also, phase detection focus offers a clear advantage over contrast detection in situations where the camera needs to quickly adjust focus to follow a moving subject. The limited availability of professional quality lenses optimized for the mirrorless design creates a disincentive for photographers to make the switch. And while adapters can be used to mount your existing glass to a mirrorless body, this can add substantial weight to your “lightweight” photographic system.

On the subject of lenses, I should point out that small, extremely high quality Leica and Zeiss glass can be used with mirrorless bodies, again, with the right adaptors. The limiting factor with this option is cost. Leica and Zeiss optics are priced well beyond the budgets of all but a very small percentage of professional and enthusiast photographers. And I mean small. Leica aspires to have a 1% market share.

Rather than focusing the discussion on some tag-team match featuring Sony and Olympus versus Canon and Nikon, the real brass tacks question is this: Is mirrorless the future of photography? Will the single-lens reflex design fade into obscurity? The answer is probably, yes.

The single-lens reflex design will definitely fade into obscurity. I have no idea if it will happen in five months, five years or longer. However, technology is always advancing and, eventually, something will come along that delivers significant improvements on SLR technology. That something could very well be the electronic viewfinder. However, I think mirrorless camera manufacturers are missing the real opportunity. Leveraging mirrorless technology to make full-frame camera bodies smaller and lighter places them in direct competition with the smartphone. That is a battle no camera body is going to win.

If Canon and Nikon want to take control of the race and secure their positions as the leading  camera manufacturers for the next generation of photographers, they will develop electronic viewfinder technology to replace the internal mirror and prism systems of their flagship cameras. These new, mirrorless cameras don’t need to be any smaller. They do need to deliver all the functionality SLR bodies currently offer plus new functionality that gives professional photographers a compelling reason to stay with Canon and Nikon products.

If there is a war to be fought between SLR and mirrorless technology, the chase for smaller, lighter bodies will not turn the tide. People like big things and pros like things that make them look big. The next time you’re at a wedding, look for the photographer with the most equipment, the biggest camera and lenses. That’s the professional. And the camera that person is using, is the camera everyone will want.

Until then, get out and shoot!

Bill Ferris | April 2014

Bucket List – Delicate Arch

(Bill Ferris)

The summer sun sets over Arches National Park in Utah. (Bill Ferris)

Which landscapes do you dream of photographing? In a private moment, where do you see yourself standing, camera by your side, and a setting sun splashing earthy hues across the scene and sky. What’s on your bucket list?

Sports photographers fantasize about shooting the Olympics, a perfect game in the World Series or a Super Bowl. For portrait photographers, working with an A-list actor, the President of the United States or royalty is a dream assignment. Would being present to document the first encounter between humanity and alien intelligence be a bucket list item for a photojournalist? Is chocolate yummy?!

One of the advantages of choosing landscapes as your photographic passion, is that you don’t need a press pass, high level security clearance or connections with the right people to gain access. Many of the most amazing destinations on Earth are right here in America and accessible with an $80 National Park annual pass. Living in northern Arizona, I am truly blessed to be near several National Parks. Grand Canyon, Arches, Canyonlands, Zion and Bryce Canyon offer spectacular photographic opportunities and all are within a day’s drive of my front door. In addition, there are numerous Native American heritage sites in the Four Corners region of Arizona, Colorado, New Mexico and Utah.

With this blog, I am launching a new series titled, “Bucket List.” The idea is simple. Each article will focus on one of the many world class landscapes in the American Southwest. To be clear, my goal is not to tell you how to go about framing and photographing these natural gems. I will share my experiences shooting these bucket list items, including what did and did not work for me. The objective is to share information and tools you can use to capture your vision of a great landscape photo.

(Bill Ferris)

Delicate Arch catches the last light of day with the La Sal Mountains dotting the far horizon. This photo was taken from the popular spot with a Nikon D90 and 18-70mm mid-range zoom. (Bill Ferris)

So, let’s get started.

Deep within Arches National Park is an iconic land form. It is a gently curing natural arch appropriately named, Delicate Arch. Even if you’ve never heard of this land form, it’s very likely you’ve seen it. Delicate Arch is featured on Utah state license plates. A simple Google search returns over 3 million hits and limitless images. Interesting thing though, when you scroll through the photos, they all look the same…like the image on the license plate.

Arches National Park is in southeastern Utah near Moab, which makes a great home base for visits to both Arches and Canyonlands national parks. Some effort is required to get to the arch. Upon entering the park, follow Arches Scenic Dr to Delicate Arch Rd. Turn onto Delicate Arch Rd and drive to the first parking lot on your left. From this lot, you’ll follow a 1 1/2 mile trail – uphill in both directions – to Delicate Arch. Budget an hour for the hike, and bring water, sunscreen and snacks.

Delicate Arch rises from the south rim of a natural sandstone bowl. The trail leads from the parking lot to the north rim of the bowl and this is the vantage point from which most photos of the arch are taken. From this spot, Delicate Arch is silhouetted against a twilight sky at sunrise and bathed in golden hour hues at sunset. With lighting so favorable at sunset, that is the time of day when the largest crowds make the long hike to see and photograph Delicate Arch. Make no mistake, though, sunrise and nightfall also offer opportunities to make spectacular images of this land form.

I was one of the horde on my first visit to the park in June 2010. My visit started poorly when I made the classic mistake of getting to the trailhead late in the day. The light was already warming when I left the parking lot. By the time I arrived – sweating and out of breath – at Delicate Arch, a crowd of well over 100 people was already gathered awaiting the perfect light. I sat down in the first open spot I found, took a long swig of water and began setting up for a shot. It was a good image – the La Sal Mountains adorned the southeastern horizon beyond the arch – but it was vanilla.

It was in this moment that I made the best decision of the day. I stopped shooting and started surveying what was happening around me. The sun was still a handful of degrees above the western horizon so, there was time to identify and get into a good position for the money shot. Photographers were spread out around the rim of the bowl with the largest grouping being where I was sitting. This location was popular for two reasons: As the first vantage point one gets to offering a clear view of the arch, this spot is highly tempting to a winded photographer. It is also the vantage point from which most photos of Delicate Arch are taken. This results in something of a vicious cycle. People stop here to catch their breath and take a photo. Since most photos of the arch are made from this location, it must offer the best view..right?

(Bill Ferris)

Delicate Arch photographed from up close using a 12-24mm zoom lens. The sky isn’t terribly interesting and the contrast of the illuminated upper arch against the shaded major portion is more distracting than appealing. However, seen up close through a wide angle lens, Delicate Arch looks more impressive and imposing. (Bill Ferris)

Scanning the crowd, I noticed a small group of photographers gathered at the base of a stone outcrop near the arch and just out of frame. In ones or twos, they would make quick runs to get closer, capture a few frames and then just as quickly retreat back to the base of the outcrop. Being naturally curious, I decided to work my way around the rim to that location. Once I arrived, it didn’t take long to recognize the advantages of this spot.

From this location, one is looking to the southwest with Delicate Arch framed by golden light along the horizon and ruddy clouds overhead. I quickly changed lenses, mounting a 12-24mm Tokina wide angle zoom on my D90. Then I attached the camera to my tripod and adjusted the leg height to allow comfortable operation from a seated position. At 7:49 PM, I made my move, scooting to a favorable location near Delicate Arch. I sat down, set up the tripod, framed a shot and took a 3-exposure series. I then backed off a few feet, re-framed and took two 3-exposure sets. Finally, I moved another few feet, re-set, re-framed and snapped off two more 3-exposure sequences.

Three minutes after leaving the base of the stone outcrop, I was back and inspecting the exposures. Undoubtedly, the people back at the popular spot were not pleased to have me in their photos. Well, that’s easily fixed in Photoshop. If they could see what I was seeing on the LCD of my camera, they would have been more upset at themselves for traveling hundreds or thousands of miles to photograph Delicate Arch and not going the extra hundred feet to make a photo that stands out from the crowd.

Delicate Arch captures a warm twilight glow at sunset in Arches National Park. (Bill Ferris)

Delicate Arch captures a warm twilight glow at sunset in Arches National Park. (Bill Ferris)

Why does it stand out? It was taken from an uncommon angle. Being close to the arch allowed me to use a wide angle lens, which separates a subject from its background and makes it appear more imposing. Shooting from the east-northeast allows one to frame the arch with brilliantly hued clouds and a golden horizon. The result is the above image, my bucket list photo of Delicate Arch.

The lesson of this story is pretty simple. Traveling across a continent or around the world to get to arrive at a bucket list destination isn’t when the work ends. Arriving at your destination is when the work begins. Don’t settle for the first vantage point offering a nice view. Orient yourself to the environment, note the location of the sun and clouds, and look for opportunities to make a compelling image from a unique perspective. Do these things and your bucket list landscape will stand apart from the crowd.

Now, get out and shoot!

Bill Ferris | April 2014

Fun With Speedlights

(Bill Ferris)

Artistic Director, Erica Kragness, leads the Troubadours and Madrigal Singers in a performance of “Before the Marvel of This Night” during the Children’s Chorale of Flagstaff 2013 holiday concert. Photographed with a Nikon D600 and Tamron 70-200mm lens at 95mm, f/5.6, 1/200-second exposure and ISO 1000. (Bill Ferris)

There are times in life when, regardless of how crazy an idea may seem, you just have to give it a try. I recently experienced just such a moment and was quite amazed–and pleased–by the outcome.

My son sings with Children’s Chorale of Flagstaff, a professional-style choir for youth from 1st through 12th grade. He started as a nine-year-old singing with the Pine Tones. For the last two years, he’s been singing in Dolce Cantando and has aspirations to perform with the Troubadours, a young men’s choir. Children’s Chorale performs a holiday concert each December at the historic Nativity of the Blessed Virgin Mary Chapel. Locals refer to this striking Gothic structure simply as, Church of the Nativity.

The week leading up to the big night, Matthew attended three rehearsals. It was during the first of these that the artistic director asked me if I would photograph the Friday performance. I eagerly accepted the invitation. Church of the Nativity is an amazing photographic subject in its own right. The opportunity to photograph the choirs performing in their formal attire in such a classic setting was simply too good to pass up.

(Bill Ferris)

Led by Jordan Rakita, the combined choirs of Children’s Chorale of Flagstaff perform “Santa Claus Boogie.” Photographed with a Nikon D600, Tamron 70-200 lens at 122mm, f/5.6, 1/200-second exposure at ISO 1000. (Bill Ferris)

I used the next day to develop a strategy for the shoot. I had photographed previous concerts in this venue with my Nikon D90 and the biggest challenge had been the low level of ambient light in the sanctuary. Although the D600 has much better high ISO performance, my preference was to add enough light to allow the use of more reasonable ISO’s with good depth of field and a fast enough shutter speed to freeze the action. Unfortunately, my lighting options were limited to an on-camera flash and two Nikon SB-700 speedlights.

So, on the night of the final dress rehearsal, I brought my camera equipment to scout the venue and work out the lighting strategy. With only two speedlights, I began exploring options for setting up the flashes near the front of the chapel. I found elevated positions along the walls about eight rows from the front where I could set up the SB-700’s, one on each side of the chapel. I used a Vello Freewave Fusion transmitter mounted on the D600 and two Freewave Fusion receivers to trigger the speedlights. The choir looked great in my test shots. But there was a major issue: with the speedlights positioned near the choir, the majority of the chapel was too dark to register in the exposures. I would have to go sans speedlights and boost the ISO to capture wide angle shots.

This weighed on me all through the next day until I settled on an idea. As crazy as it may sound, I decided to see if I could fill the house with light using the SB-700’s. I mean, what could it hurt? If my plan didn’t work, I had a strategy for lighting the choir and then boosting the ISO to capture wide angle images. But if it did work…

(Bill Ferris)

The combined choirs of Children’s Chorale of Flagtaff peform “Night of Silence,” the traditional closing song of their annual holiday concert. (Bill Ferris)

The day of the concert, I arrived more than two-hours before the performance to test my crazy idea. There is a small balcony at the rear of the chapel. I walked up the narrow flight of stairs carrying my kit. I set up the two SB-700’s on light stands, one on each side of the balcony. They were set at full power and aimed to fire across the sanctuary toward opposite corners. I began taking test exposures and, much to my surprise, the two speedlights did an adequate job of filling the chapel with light. I did have to boost the ISO a bit (ranging between 800 and 1600, depending on lens focal length and aperture) but even at the highest ISO used, it was well within the D600’s wheelhouse for low light performance.

In my excitement at having found a way to light this beautiful church, I overlooked one critical element: people. All during the afternoon, I had been alone in that small balcony. But when the doors were opened to allow the gathering crowd to enter, a flood of parents, family and chorale supporters made their way up to my perch to find seating for the show. My biggest worry was that someone would accidentally move or knock over one of the speedlights. Or, while I was down on the floor getting  shots of small groups and individual choir members, someone would take my position at the center of the balcony rail. But I needn’t have been concerned. All went well.

(Bill Ferris)

The Troubadours of Children’s Chorale of Flagstaff. (Bill Ferris)

Of the approximately 275 exposures I took that night, 61 were of sufficient quality to place in an online gallery from which parents and other chorale supporters have been invited to purchase prints as remembrances of a fantastic evening of holiday song and cheer. A portion of the proceeds will go to support Children’s Chorale. As for the remainder…well, I might add a couple of speedlights to my arsenal for the May concert. The front of the chapel was a skosh dark in some exposures.

Have a Glorious Holiday season and … get out and shoot!

Bill Ferris | December 2013

Classic Beauty

Looking east inside the Wisconsin Capitol. Two glass mosaics (pendentives) are seen: Liberty (left) and Justice (right) (Bill Ferris)

Looking east inside the Wisconsin Capitol. Two glass mosaics (pendentives) are seen: Liberty (left) and Justice (right) (Bill Ferris)

There is just something about classic, old world architecture. I love it and, best of all, so does my camera.

Built during the early 1900’s by George B. Post & Sons of New York, the Wisconsin Capitol building in Madison is a fine example of Renaissance Revival architecture. It features the largest granite dome in the world, a rotunda constructed of marble from Greece and the classical lines and archways one would expect to find in a European capitol. At 284 feet, 5-inches tall, the Capitol is three feet shorter than the nation’s capitol in Washington, DC. In 1988, the state of Wisconsin began a major renovation project to modernize the infrastructure while restoring the original 1917 appearance of the building. Completed in 2002, the result of that work is shown in the photos accompanying this article.

Architectural photography and landscape photography have a lot in common. The most significant commonality is that a good wide angle lens and tripod are key to capturing dramatic images filled with rich color and detail. All the photos in this article were taken with a Nikon D600 and Nikon 16-35mm zoom lens. All were shot at 16mm. To capture as much detail as possible, I used small apertures (f/16 to f/22), which deliver great depth of field. To minimize noise and preserve the detail of the exposures, I selected an ISO of 200.

I visited the capitol building on a late November day, finding an interior illuminated by wonderfully soft natural sunlight. Because I was shooting with small apertures, my exposures needed to be quite long. The above photo, for example, is a 0.8-second exposure. As you look through the other images, you’ll see captures from 2- to 5-seconds in length.

Looking southeast from beneath an archway in the Wisconsin Capitol building, three pendentives are seen: Liberty (left), Justice (center), and Legislation (right) (Bill Ferris)

Looking southeast from beneath an archway in the Wisconsin Capitol building, three pendentives are seen: Liberty (left), Justice (center), and Legislation (right) (Bill Ferris)

This is a 2-second exposure shot at f/16. The dome interior was overexposed by a full stop but the arches and corridors were properly exposed. Shooting in RAW made it relatively easy to correct the overexposed dome in Photoshop. I opened the original RAW image, making subtle adjustments in exposure and color saturation to optimize for the arches, corridors and pendentives. (Pendentives are the colorful glass mosaics between the arches.) This file was then saved as a TIFF. I then re-opened the original file, this time bringing the exposure down by a full stop to optimize for the dome interior. I copied this into a new layer in the TIFF file and used a layer mask to reveal just the dome interior.

This is the beauty of working with RAW files. Because they are uncompressed and contain the widest dynamic range of any format, RAW files allow you the greatest latitude in adjusting exposure, brightness, contrast and color saturation without loss of detail. I can often decrease or boost exposure by two full stops without significant degradation of the image.

A view from the Wisconsin Capitol second floor balcony up toward the dome. Three pendentives are visible. The pendentives are glass mosaics representing the three branches of government: Justice (left), Legislation (center) and Executive Power (Government - right) (Bill Ferris)

A view from the Wisconsin Capitol second floor balcony up toward the dome. Three pendentives are visible. The pendentives are glass mosaics representing the three branches of government: Justice (left), Legislation (center) and Executive Power (Government – right) (Bill Ferris)

The graceful curves and lines make this building perfect for a photographic style that emphasizes balance and symmetry. While setting up, I noticed a small patch of sunlight illuminating the dome interior so, I framed the shot to include this detail, which anchors the upper boundary of the image. This, again, is where a tripod is essential gear. Shooting with a tripod allowed me to carefully compose each shot. I used the D600’s virtual horizon to get the camera level along the horizontal X-axis. Tilting in the vertical Y-axis would still preserve a symmetrical view.

After composing the shot, I used the camera’s AF-S (Auto Focus-Single Servo) mode to set focus on a distant detail. I had also assigned focus activation to the AE/AF lock button. With focus set, I could then pay attention to any final framing adjustments before taking the exposure. To minimize the chance that vibration would introduce shake during these long exposures, I used the camera’s self-timer to delay shutter actuation by 10-seconds from the moment I pushed the shutter release button. This delay allowed the camera body to settle and capture crisp, detailed photos.

The only drawback was that, on several occasions, people would walk into my frame during the 10 second delay. Oh well. When that happened, I would wait for them to leave the frame before starting another exposure count down. Patience, is a valuable asset to have as a photographer.

Looking up from the ground floor toward the center of the dome of the Wisconsin State Capitol. With east at bottom, south at right, west at top and north at left, all four pendentives (glass mosaics) are visible: Liberty (bottom left), Justice (bottom right), Government (top left) and Legislation (top right) (Bill Ferris)

Looking up from the ground floor toward the center of the dome of the Wisconsin State Capitol. With east at bottom, south at right, west at top and north at left, all four pendentives (glass mosaics) are visible: Liberty (bottom left), Justice (bottom right), Government (top left) and Legislation (top right) (Bill Ferris)

This image was taken at 16mm, f/16, ISO 200. It is a 5-second exposure. I intentionally overexposed the dome by two full stops to capture enough light to allow the arched ceilings to show good color and detail. As with the other images in this set, I used the exposure adjustment tool when opening the original RAW image to create multiple layers in the final Photoshop composite. The base layer was optimized for the architectural details in the corners; the next layer, for the arches; then third, for the glass mosaic pendentives; and the uppermost layer exposure was optimized for the dome interior. Exposure was decreased by nearly two stops, which shooting in RAW makes possible.

The real fun of photographing a structure such as this–with its graceful lines, European flourishes and classical beauty–is having the time to play with composition. After capturing a frame featuring one detail, you might move the camera just a few degrees to reveal another detail that serves as the focus point for the next exposure. There is almost no wrong way to work a subject like this. Of course, this assumes you’ve brought your camera along for the trip.

Now, get out an shoot.

Bill Ferris | December 2013

Sports Photography

Wide angle zooms reach infinity focus within 2 to 3 meters, allowing you to freeze motion and achieve good depth of field even at the widest aperture. This image was shot at 16mm, f/4, ISO 4000, 1/500-second

Wide angle zooms reach infinity focus within 2 to 3 meters, allowing you to freeze motion and achieve good depth of field even at the widest aperture. This image was shot with a Nikon D600 full-frame DSLR using a Nikon 16-35mm wide angle zoom lens at 16mm, f/4, ISO 4000, 1/500-second. (Bill Ferris)

Sports and wildlife photography are extremely demanding of you, as a photographer, and your equipment. You are often shooting in low light, farther from your subject than you’d like–when it comes to wildlife, sometimes too close for comfort–and trying to capture a moving target. These are situations where your photographic technique and your equipment’s ability to make good images are pushed to the limit. In this blog entry, I’m going to focus on sports photography, offering some tips on how to capture compelling, dynamic images under challenging circumstances.

Battling for position beneath the basket. This image was captured at 70mm, f/2.8, ISO 2500, 1/800-second

Battling for position beneath the basket. This image was captured with a Nikon D600 and Tamron 70-200mm zoom lens at 70mm, f/2.8, ISO 2500, 1/800-second. (Bill Ferris)

Basketball is a sport which allows photographers to be relatively close access to the action. This doesn’t make the sport easy to shoot but it does make basketball easier to photograph than other sports. I used a Nikon D600 to capture all the images in this article. Sports photography is one area where a full-frame sensor, such as that in the D600, can give you an advantage over a digital camera with a smaller crop-sensor. The pixels on a full-frame sensor are larger than those on a crop-sensor DSLR body offering similar resolution. Larger pixels are more efficient. In other words, they do a better job of capturing light than smaller pixels. As a general rule, A full-frame DSLR will deliver at least a full stop of improved high ISO performance in comparison with a similar resolution crop-sensor body.

Why is this important for sports photography? If your objective is to capture a moment, your objective is often to freeze motion. (Please, note that freezing motion is not required for good sports photography. It is, however, a common practice.) To freeze motion, you need to take really short exposures, typically using shutter speeds between 1/500 and 1/1000 second. To make a good quality image at such fast shutter speeds, you’ll need two things: a fast lens and a camera with good high ISO performance. (Since flash photography is prohibited on the field or court, you’ll need to rely on your lenses and sensor to make the most of the available light.) Most sports photographers shoot with lenses offering fixed apertures of f/2.8 or faster. ISO settings are typically in the 1600 to 6400 range…sometimes faster.

In the above image, I was shooting at 70mm, f/2.8 using an ISO of 2500 and a 1/800-second exposure. If you zoom in to 100% on the full-size version of the image, you’ll see a slight touch of blur on NAU player’s right eye. Also, the reflected lights on his cornea are slightly elongated. Even shooting at 1/800-second, the image does not completely freeze the motion.

This image was taken with a Tamron 70-200mm zoom at 200mm, f/2.8, ISO 6400, 1/800-second

This image was taken with a Nikon D600 and Tamron 70-200mm zoom at 200mm, f/2.8, ISO 6400, 1/800-second. (Bill Ferris)

Another advantage of a full-frame sensor is its comparatively shallow depth of field. This advantage is due to the fact that crop-frame sensors effectively extend the focal length of a lens. Nikon’s DX format sensors have a 1.5X crop factor. In other words, any lens used on a DX format body will have an effective focal length 50% longer than it will on a full-frame or FX format Nikon body. The lens I used to take the above image was set to 70mm on my full-frame Nikon D600. On my crop-sensor D90, that same lens would have an effective focal length of 105mm and a correspondingly greater depth of field. The pleasing bokeh in the above image would not be as dramatic in images made with the D90. Objects in the distance would be more in focus, reducing the separation between the subject and the background.

This photograph was taken with a Tamron 70-200mm at 135mm, f/2.8, ISO 3600, 1/640-second

This photograph was taken with the Nikon D600 and a Tamron 70-200mm at 135mm, f/2.8, ISO 3600, 1/640-second. (Bill Ferris)

Here’s an image that does a nice job of freezing the action. If you zoom in to view the image at 100%, you’ll see the NAU player’s eyes are in focus. This is the number one rule of good photography: focus on your subject. When shooting basketball or another sport where the athlete’s face is in view, you should focus on the eyes. How do you know if you’ve succeeded? Look at a 100% view of the the eyes in the original image. If light reflected off the cornea is sharp and well-defined, the image is in focus. If the eye is soft or fuzzy, the image belongs in the recycle bin.

A technique I use to achieve good focus is called, Back Button Focus. Back Button Focus (BBF) moves the auto focus function of your DSLR from the shutter release button to the Auto Exposure Lock/Auto Focus Lock (AE-L/AF-L) button, typically found on the back of a DSLR body. Why do this? Most DSLR shutter release buttons allow you to activate auto focus with a half-depression of the shutter release button. To take a picture, depress this button fully to actuate the shutter. When shooting sports, there is an advantage to separating auto focus from shutter release.

Taken at 200mm, f/2.8, ISO 6400, 1/800-second

Taken at 200mm, f/2.8, ISO 6400, 1/800-second. (Bill Ferris)

In the above photo of NAU men’s basketball head coach, Jack Murphy, he was squatting while speaking to his team. The distance from him to my camera wasn’t changing. In that situation, I used the AE-L/AF-L button to set focus on his eyes, then waited for him to turn and face me before taking the exposure. If the Shutter release button also triggered the camera’s auto focus function, taking the picture may have reset focus on another person in the frame, ruining the picture.

Another advantage of moving auto focus to the AE-L/AF-L button is the potential to extend the battery life of your camera. If you shoot with vibration reduction (VR or VC) lenses, that half-depression of the shutter release button will activate the vibration reduction motors. The VR motors draw additional power from your camera’s battery. Using the AE-L/AF-L button for auto focus allows you to wait longer before engaging VR, which will extend your battery life.

200mm, f/2.8, ISO 5600, 1/800-second

D600 with Tamron 70-200 at 200mm, f/2.8, ISO 5600, 1/800-second. (Bill Ferris)

So, how do I set up my camera for a sports photo shoot? First, I put the camera in full Manual mode. Why? Well, I know there are two factors over which I want total control. The first, is aperture. I want to use my lens’s widest aperture. This maximizes the amount of light falling on the sensor, which allows me to make a good image using short, fast exposures. A wide open aperture also delivers images with beautiful bokeh, creating clear separation between the subject and surrounding environment. The second factor I want to control, is shutter speed. If I’m trying to freeze the action, I’ll choose an exposure of 1/500-second or faster. You’ll notice many of the images in this article were taken with exposures of 1/800-second.

Having selected the aperture and shutter speed, I will then engage a setting I rarely use: Auto ISO.  When doing landscape and portrait photography, I generally select a low native ISO setting of 100 or 200 to reduce noise in the resulting photograph and maximize image quality. Sports photography is one of those scenarios where you need to use–and trust–the camera’s high ISO capability. Selecting Auto ISO allows you to concentrate on framing, focus and when to push the shutter release button. You can choose to manually control ISO and, to be honest, many photographers are able to make ISO changes on the fly without missing a shot. Personally, I prefer to keep things simple and Auto ISO reduces the number of critical variables I have to monitor. Of course, this technique is only as good as your DSLR’s ability to meter and select a proper ISO.

D600 with Tamron 70-200mm at 200mm, f/2.8, ISO 5000, 1/800-second

D600 with Tamron 70-200mm at 200mm, f/2.8, ISO 5000, 1/800-second. (Bill Ferris)

With the manual settings in place, I’ll then double-check my camera’s auto focus setting. For landscapes and portraits, I use Nikon’s Auto Focus Single-Servo (AF-S) mode and choose a single auto focus point. In a nutshell, the AF-S mode tells the camera to set focus just once and lock that in place until the shutter is actuated. Landscapes don’t move and, in many portraiture settings, your subject is not moving. So, AF-S is a mode that allows you to precisely set and hold focus. Choosing one auto focus cross-point gives you further control over these critical factors.

Sports photography is a different animal, altogether. Since your subjects are moving, it’s generally better to select Auto Focus Continuous-Servo (AF-C) and a cluster of cross points where your subject is most likely to be within the frame. With AF-C selected, my D600 offers options of 9, 21 or 39 cross point clusters to predictively track and follow focus. This illustrates another advantage of assigning auto focus to the AE-L/AF-L button. With my right fore finger resting atop the shutter release button, my right thumb is able to depress and hold the AE-L/AF-L button to engage continuous auto focus. When I’m ready to take an exposure, I press the shutter release button.

D600 with Nikon 16-35mm at 16mm, f/4, ISO 5600, 1/640-second

D600 with Nikon 16-35mm at 16mm, f/4, ISO 5600, 1/640-second. (Bill Ferris)

Burst rate is another setting I’ll adjust prior to the game. Again contrasting sports photography with landscapes and portraiture, shooting constantly moving subjects is a scenario where your camera’s high speed burst rate is a real asset. Over the course of one or two seconds, a basketball player can go from the top of the key to leaping and finishing with a layup kissed off the glass or a monster dunk. My D600 has a maximum continuous burst rate of 5.5 frames per second. That’s one frame about every 0.2-second. If you have any doubt about how much can happen in two-tenths of a second, review a short burst sequence. In that collection of 5 to 10 images, there may be one where the player’s face is visible, the ball is visible, focus is pin sharp and framing is perfect. The other images may be soft in focus, poorly framed or have some object obscuring the subject’s face. I don’t recommend holding down the shutter release for seconds on end. But a well-timed, one-to-two second burst at your DSLR’s fastest rate can go a long way towards ensuring you get the shot.

Nikon D600 with Tamron 70-200mm at 200mm, f/2.8, ISO 6400, 1/800-second

Nikon D600 with Tamron 70-200mm at 200mm, f/2.8, ISO 6400, 1/800-second. (Bill Ferris)

Let’s talk about subject matter for a moment. Certainly, the primary objective of your photography will be to capture the critical moments and plays in the game. But sports are about more than just the action on the field or court. It’s also about what’s happening on the benches, in the stands and on the sidelines. The above image has nothing to do with the final score. But it captures a genuinely personal moment among the players on the Northern Arizona bench. If you didn’t attend the game, you probably don’t know what the final score was. However, seeing this image, may give you a clue. NAU dominated. They led by twenty or more points throughout the second half and won by that same margin. Hence, the players on that bench felt comfortable sharing a light moment–a bit of humor–before the final buzzer sounded.

200mm, f/2.8, ISO 4000, 1/800-second

200mm, f/2.8, ISO 4000, 1/800-second. (Bill Ferris)

Finally, I’ll share a few thoughts on lens selection. I brought three lenses to this shoot: Nikon 16-35mm, f/4; Tamron 24-70mm, f/2.8 and Tamron 70-200mm, f/2.8. All are zoom lenses with vibration reduction. The two Tamron lenses are fast, with fixed f/2.8 apertures throughout their zoom ranges. The Nikon 16-35mm is one stop slower at f/4, which would normally be a significant limitation in this setting. However, the excellent high ISO performance of the Nikon D600 body allowed me to freeze the action with this ultra-wide angle zoom.

Of the three, if I had to choose just one to bring to a basketball game, it would be the 24-70mm, f/2.8. It’s wide enough to frame players, head-to-toe, beneath the basket and long enough at the 70mm end to isolate a player from the waist up. The 70-200mm, f/2.8 would be next in my bag. The reach of this lens allows me to get up close and personal, filling the frame with the face of a coach or player. It also allows me to follow action on the far end of the court. In fact, if I were limited to just one lens for all sports shooting, it would be the 70-200, Sports like football, baseball and soccer are played on larger fields that demand a longer zoom range to bring the action closer to you, the photographer.

This photo was taken with a Nikon D600 and Tamron 70-200mm combo at 200mm, f/2.8, ISO 4500, 1/800-second

This photo was taken with a Nikon D600 and Tamron 70-200mm combo at 200mm, f/2.8, ISO 4500, 1/800-second. (Bill Ferris)

In summary, the key to successful sports photography is freezing the action. The tools that allow you to do this are a camera body with very good high ISO performance (advantage: full-frame sensor), fast lenses (f/2.8 or faster), and an auto focus system that accurately tracks and predicts focus on moving subjects. Shooting in manual allows you to control at least two critical settings: aperture and shutter speed. Using the camera’s Auto ISO feature can simplify things for you. Using your camera’s continuous auto focus setting and moving control over auto focus to the AE-L/AF-L button are an asset to achieving accurate focus. Focus on the eyes of your subject. If the eyes aren’t in focus, the image belongs in the recycle bin. When you’re ready to shoot, a well-timed short burst will help to ensure you get the shot. And finally, capture images that tell the full story of the event, including action around the court.

Now, get out and shoot!

Bill Ferris | November 2013

 

Glass

(Bill Ferris)

r Late on a summer day while finishing a long hike from the South Rim of Grand Canyon to the Colorado River and back, I stopped along South Kaibab trail to capture this image. Twilight bathes the inner canyon, rendering the temples and buttes ghostly silhouettes. This photo was taken with a Nikon D70 and Nikkor AF-S 18-70mm f/3.5-4.5G lens. (Bill Ferris)

I’m going to let you in on a little secret. Canon and Nikon won’t tell you this but, as fantastic as their high end professional lenses are, you don’t need them to take great photographs. The kit zoom lens that came with your entry level camera body is perfectly capable of taking a great photo. So, if you’re just getting into photography or are about to make the transition from shooting film to shooting digital, don’t let smug comments about amateurish kit lenses deter you.

Canon and Nikon are the dominant manufacturers of digital single lens reflex (DSLR) cameras. Amazon.com updates their “Best Sellers in DSLR Cameras” list on a daily basis. Canon and Nikon are typically the only two companies in the top 20. In the Under $700 category, Canon’s EOS Rebel T3 and T3i, and Nikon’s D3100, D3200 and D5100 are top-selling DSLR’s. All come with 18-55mm kit lenses. Of course, you can purchase just the camera body or substitute another lens. However, there is a strong case to be made for getting the kit lens with your entry level camera body.

Let’s look at the specs for these optics. Canon’s kit lens is the EF-S 18-55mm f/3.5-5.6 IS II. The Nikon variant is the AF-S DX 18-55mm f/3.5-5.6G VR. On paper, both offer the same focal length range, aperture range and built-in image stabilization technology. Designed for use with crop sensor bodies, the effective 35mm zoom range for the Canon lens is roughly 29mm at the wide end to 88mm at the long end.  Nikon’s DX format sensor is slightly larger than Canon’s. The Nikkor 18-55mm delivers a 35mm zoom range of 27mm to 83mm. Both are street priced under $200, offer good optical performance and excellent value.

These mid-range zooms offer versatility that will meet the needs of most photographers. You’ll be able to shoot everything from wide angle scenics to portraiture. Their plastic construction means these are not rugged lenses. They’ll crack or break, if treated roughly. And they’re not weather sealed. If it starts to rain, you’ll want to stow the camera until the sun comes out. But these high value optics are also lighter and more comfortable to wear around the neck all day than professional grade zooms.

What are the hallmarks of a professional optic? As already mentioned, professional lenses offer more rugged construction with metal parts and tighter seals to protect against the elements. They’re also optically faster. At the wide end, the above-mentioned kit zooms operate at f/3.5. In other words, the focal length is 3.5x the aperture (opening) of the lens. Professional lenses typically offer focal ratios of f/2.8 or faster. In other words, the lens aperture is larger.

Why is this of value? Well, the larger the aperture with respect to the lens focal length, the shallower the depth of field. So, if you simply must have a lens allowing you to shoot portraits with super sexy bokeh (out of focus background) or freeze the action during an outdoor athletic event at night, you should invest in fast optics. But if you do most of your shooting during the day, if you enjoy crisp landscapes, or if you’re satisfied by modest soft focus in your portraiture, the kit lenses Canon and Nikon package with their entry level DSLR bodies are more than up to the task.

On the evening of March 11, 2005, the Moon and Mercury set together shortly after the Sun. This photo, taken from Sunset Crater National Monument just north of Flagstaff, captures the event. (Bill Ferris)

The Moon and Mercury hang in a twilight sky cradled in the branches of a silhouetted tree.. This photo, taken from Sunset Crater National Monument just north of Flagstaff, was made with a Nikon D70 DSLR and Nikkor AF-S 18-70mm f/3.5-4.5G lens. (Bill Ferris)

Back in 2004 when I made the move from a classic Nikon F3 35mm film camera to the highly regarded Nikon D70 DSLR, I purchased the AF-S DX 18-70mm f/3.5-4.5G kit lens. In 2010 when my D70 body was damaged beyond repair during a backpacking trip in Grand Canyon, I upgraded to the 12MP Nikon D90. But I kept the 18-70mm kit lens. It’s been a good performer for me, as evidenced by the above images. I have added two lenses to my kit in the last couple of years. They are a Tokina 12-24mm f/4 Pro DX wide angle zoom and a Nikon AF-S 70-300mm f/4.5-5.6G VR telephoto zoom. Both compliment the old, trusty 18-70mm and the thee-lens set delivers an 35mm equivalent zoom range from 18mm to 450mm.

Now, I’m not here to blow smoke up your tailpipe. I’ll admit it, I covet the so-called holy trinity of Nikkor glass: 14-24mm, 24-70mm and 70-200mm. All are AF-S, f/2.8 zooms delivering images so sharp they cut glass. This covetous condition is a common malady affecting many photographers. However, not having these lenses has not stopped me from doing photography or from capturing the occasional great image. Would these lenses allow me to take photos for which my current stable of glass is not suited? Yes. Do kit lenses and affordable third-party lenses render one incapable of doing great photography? Absolutely not!

Get out and shoot.

Bill Ferris | August 2013