Jan
1

The Canon 70-200 f/2.8 IS II, the best lens ever?

The Canon 70-200 f/2.8 IS II, the best lens ever?

Something has been missing from my camera bag since I switch from Nikon to Canon. When I shot Nikon, I had two go to lenses in my bag, the 24-70mm f/2.8 and the 80-200mm f/2.8. When I sold the Nikon kit and moved to Canon, I made sure to buy the Canon 24-70mm f/2.8, but I thought that I needed to get a longer zoom for my action work and didn’t buy the Canon 70-200 f/2.8, instead I opted for the Canon 100-400 f/4.5-5.6.

I did this for two reasons. The first was because I was shooting a lot of action photography at the time and wanted to get closer to the subject, but many times fences, security guards or guard rails kept me from getting closer to the action, so I went for the 100-400 to help me get those tight shots.

I have since moved away from being a sport and action shooter, to more of a studio and portrait photographer and the necessity for the 100-400 has gone away. So far away, that it is no longer in my everyday camera bag and only comes out when I got out for the sporadic action shoot, and it may soon find its way on the used lens market.

The second reason that I didn’t buy the Canon 70-200 is because I really didn’t understand and appreciate lens optics at that time. While many photographers use the lens as a middle ground piece of glass that fits between their wide angle lenses and their super telephoto lenses, many more know the true power of a 70-200, its amazing qualities as a portrait lens.

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Oct
2

My Wedding Can Beat Up Your Wedding

My Wedding Can Beat Up Your Wedding

There are many things that can be said about my photography, and my approach as a photographer. Some good, some bad, but you can never say that I am a dull photographer. So as I started to open my business up to shooting family portraits, engagements and weddings, it shouldn’t have shocked me that I would be hired to shoot this particular wedding.

The bride? Non other than derby girl Buck Nasty, aka Sarah Buck, of the Battle Born Derby Demons. Sarah approached me several months ago, asking me to bid on their wedding. As she started to give me details about the wedding, she then told me that her soon to be husband, Adam, was also a professional wrestler.

Somewhere Jasmine Star and other instructors at WPII are either jealous or fearing for my well being.

The happy couple.

The happy couple.


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Oct
6

A Farewell to Derby

This Saturday will be my last bout as the team photographer for the Battle Born Derby Demons (BBDD), Reno’s flat track women’s roller derby team. I knew this day was coming, when I would have to step down, and it has not been a day I have been looking forward to.

For the last 5 years, I have had the honor of being BBDD’s official team photographer, but as the years have passed, my photography business and teaching schedule have become too much for me to continue to give the job the attention that it deserves, and I have decided that this season’s final bout will be my last. Continue Reading…

Sep
0

Remembering 9/11

9/11 is one of those events that will never be forgotten. In a sense of historical irony, the attack on the Twin Towers in New York City may be one of the best-documented events in US history, due to the all the major media outlets based in the city and so many great photographers living in and around New York City at the time. While the attacks on the Pentagon and flight 93 in Pennsylvania were covered, nothing comes close to the amount of video, film and early digital files shot during the attacks on the towers.

For the past few weeks, and most certainly for the next few days, we will see almost all of that footage played over and over again. We will hear and see the stories of all of those involved. From the striking of the towers, to the heroes who ran into the burning towers, to those that were lost when they fell, their legacy and sacrifice will never be forgotten.

Many photographers not only documented the attack, but also the rescue that followed in the days, weeks and months. The great Jay Maisel took his camera and photographed the faces of the citizens of New York City, as they watched the rescue attempts at ground zero, his gallery and now release book shows the emotion of those closest to the attack.

In the years since the attacks many monuments have been constructed to honor those lost in the attacks. Drew Gurian, Joe McNally’s assistant, showed me the work of Jessica Jamroz, who has worked on a monument in New Jersey, for the citizens of the state that were lost during the attack on 9/11. Her work on the design of the monument is amazing, as are so many others around the nation.

For me, one of the best tributes to the attacks on the towers is Joe McNally’s “Faces of Ground Zero”. Like so many, Joe wanted to do something, needed to do something, and just so happen to be working in a studio, just blocks from Ground Zero, with the largest Polaroid camera.

Over the next five weeks, he took photos of officials, rescue workers, and family members of those lost in the tragedy. The photos turned into a book, which has turned into many showings of the images to the public.

10 years later, Joe has brought us back to those same faces with updated photos and video. This isn’t something that he started this year, but something that he has been doing since that day 10 years ago. Joe has kept in touch with those people and stayed in their lives, keeping us updated on how they continue to live in the wake of everything they went through. They can ask for no better voice than Joe McNally. His words and tenor when he speaks about the that day is truly amazing and to hear him tell their stories in person in a life changing experience.

As a student of history, I am drawn to the personal stories of those who are involved in world changing events. The detail of how individuals have dealt with those events and tragedies is the can be the most reveling. Facts are always necessary in history, historians try to always search for those facts in search of accuracy, but it the stories of those people involved, that is where the truth can be found, that is where we see the human side of any event.

I have no idea if Joe intended to be the caretaker of those people featured in “Faces from Ground Zero”. But in taking those photos, and talking with those people, he has taken their stories and brought them to a light that we will be able to return to for so many years to come. There is no politics or ideology in their images or words, just their story. And in the years that have past, Joe has continued to hear and document their story, through photo, and now video. How these individuals continue to live their lives, either with the tragedy that directly involved them, or the loss of a family or friend, is really the story that must be told.

At Photoshop World, I again had the privilege to hear Joe speak about this ongoing project. He shared the updated photos, as well as the stories. As each photo passed on the screen, the emotion in the audience was palpable. You could hear the tears being held back from many, and once Joe was done speaking, the standard applause given to every photographer presenting, turned into a standing ovation. Every single person in the audience knew exactly what they had heard and seen, touch by the photos and memories of one of the darkest days in American history.

If you have never seen the “Faces of Ground Zero” or haven’t seen the updated images and videos from Joe McNally, you can find them here. You can also donate money to help continue a legacy that will live on, long after we are gone.

To those lost on that terrible, you are not forgotten.

To those that lost family and friends, we will never forget.

Great men and women, like Joe McNally, will never let that happen.

Feb
5

In Search of a Better Modifier.

In Search of a Better Modifier.

When it choosing lighting tools for a photo shoot, I am as schizophrenic as they come. One minute I am using large modifiers with my White Lightnings, then the next I am using umbrellas with my Canon Speedlites.

The reason I choose one light or another sometimes comes down to basic issues, portability and the modifiers I can use with the different lights.

If I know I am going to have to hike a mile in the forest, I take my Speedlites, regardless of how I want the light to look, because I am not going to carry more gear that can fit into two small shoulder bags. I will use the light modifiers that I can fit on my Speedlites, but there is usually a compromise that I have to make when using the smaller lights. The modifiers that are available for Speedlites are usually not as good as the modifiers available for larger studio heads or monoblocs.

If I want a big, beautiful light source, I fire up the White Lightnings, because all of my large modifiers work with those lights, and I can’t really use my small Speedlites to fill a super large umbrella or beauty dish like I can with my White Lightning monoblocs, plus attaching some of my large modifiers to the small Speedlites is either not possible or practical.

If you have already reach this conclusion, let me put it out there; this is not the way to light. While I am not unhappy with the light I create, I am bothered by the fact that I have to sometimes settle or work around issues of size versus modifiers.

Beauty by Chloe, light by the Apollo Softbox and Triflash.

Beauty by Chloe, light by the Apollo Softbox and Triflash.


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