The Weekly Wrap-up features articles from this week on Photofocus. Scott Lawrence explores the Nikon Z6 for headshots, guest writer Julie Powell talks about the art of still life, Kevin Ames reviews the Asus 32″ HDR monitor, Bob Coates show us his “musicians hall of fame” in a restaurant he works with and Michèle Grenier starts her mirrorless camera dating. Enjoy!
The Nikon Z6 for headshot photography - The mirrorless bug finally bit me. As a long time Nikon shooter, I was patiently waiting for the Z series. With a D4S and D850, I was interested to see how the Nikon Z6 could fit into my professional (and personal) workflow. As a corporate headshot photographer, I’m typically on location, in a conference room for the day or in my studio for individual sessions. Headshots on location For the volume corporate headshot jobs, the D4S is still my favorite tool. It will sit there all day, ready for action in a fraction of a second. I love that it doesn’t go to sleep like mirrorless cameras or my lights. It’s always on. The battery will last for days. The resolution is very manageable as my work typically ends up online or in small print brochures or magazines. In fact, more recently, I’ve had more challenges downsizing images as opposed to not having enough pixels. The only real downside of the D4S is its mass. That mass still translates to credibility among non photographers, but my back also takes notice. I tend to shoot fast and frequent as catching changes in micro expressions are key to getting the perfect shot. The D4S has never let me down. There’s just something about handling a D4S sized body on an almost daily basis. Every function is accessible — even in the dark with back-lit buttons. All the little refinements add up with heavy use. Think of it terms of cars. If you know you’ll be driving 25,000 miles a year. Would you rather be driving an Audi A7 or a Volkswagen Jetta? Headshots in the studio In my new studio, I usually reach for my D850. As it’s easier to manage with a prime lens, hand held or on the tripod. I love the ugly office light killing ISO 64 range. As a regular strobe user, I wish ISO 64 was standard on all cameras. The D850’s resolution is of course amazing. But those pixels aren’t as forgiving as the D4S. Just the other day on location, I was dragging the shutter to bring in a little more ambient light in an office and I found it tough to go much below 1/125 of a second without getting a little camera shake blur (with a 24-70mm lens). Your technique must be spot on with the D850. Finding a place for the Z6 So far, the Z6 straddles these two environments well. It’s far lighter even compared to the D850. I carried the Z6, FTZ adapter, native 24-70mm f/4 and F-mount 85mm f/1.4 lens in a backpack and it didn’t feel any heavier (on a quarter mile walk from the car) than the D850 and 85mm lens alone. The 24-megapixel resolution is plenty for my needs. The in-body stabilization is already coming in handy in the studio. And while it doesn’t have the eye detection yet, I found the face detection more than adequate for studio use. Normally, I’m always moving around the focus point to the eye as I recompose. But with the Z6, I just engage the AF and it finds the face every time. Certainly not the most challenging autofocus situation, but it’s exciting to think how this could change my workflow. Your best portraits will come from more interaction with the client and less chasing of focus points. For studio sessions, I’m really loving the Z6. The form factor and portability is great for my individual headshots sessions. For larger volume jobs, I need to do some testing to see what I can expect in terms of battery life in tethered setups. Once a tethered setup is established, I try to avoid disconnecting for any reason as tethering in Lightroom isn’t 100% reliable. The Z6 for personal use OK, maybe for personal use like chasing my kids around, I can see the need for the eye AF. But the form factor alone is a big improvement. I’ll be more likely to simply have the camera with me. I went with the 24-70mm f/4 kit because of it’s size and utility. While I’m not a big fan of the 24-70mm range, I stick to longer primes or a 70-200mm for portrait work. I’ll probably pick up the 50mm f/1.8 too as the Nikon F-mount 50mm is showing its age. At WPPI, I checked out the new 24-70mm f/2.8 Z mount — it’s beefy. Not as big as the F-mount version, but still big. I don’t make money with a 24-70mm as I do with a 70-200mm. So the rational choice would be to wait for the native Z-mount 70-200mm. The Z cameras also have some newer WiFi functionality built in. It’s more versatile than the D850. I’ve played with it just a bit, but need to spend more time. You’d think offering simple WiFi connection would be easy, but it’s been more complicated than you’d think. Nikon has a released an entire manual for networking the Z6 and Z7. Unfortunately, these features seem to have missed the marketing budget. What about video? I don’t shoot much video at all. But that’s on the 2019 resolution list. Even for BTS video, I can see this camera as a winner. Just in the last few days, I’ve been amazed at the video functionality. Stay tuned for future posts on video. Final thoughts I like all three of these bodies. They serve different purposes. For simplicity, I’m not crazy about having a third body in the mix with slightly different menus. In a professional context, operating the camera must be second nature. And with menu systems (even from the same manufacturer), it’s a challenge. So I’ve been thinking about giving up one of those bodies. If I had to narrow it down to two bodies in my kit, I’d probably drop the D850 for a second Z body. Yes, that feels odd to say when the D4S is nearly five years old. But it does have its place. And its distinguishing features, I
In-depth review: Asus ProArt PA32UC HDR 32″ monitor - Monitors have been a very important part of my photographic career for more than a quarter of a century. At the beginning of digital editing, monitors were CRTs with picture tubes. There was no color calibration. Color management was a roll of the dice at best. They ranged in price from $1,500 for a SuperMac screen to over $6,000 for the Barco version. I switched from CRT to LCD screens when Apple introduced the 17″ Studio display in 2001. I added a 20″ Apple Cinema display and then a pair of their 23″ versions. Finally, in 2013, I bought a pair of 27″ Apple Thunderbolt displays to go with a MacPro coffee can computer. Then Apple chose to no longer make monitors. Enter Asus I received an Asus ProArt PA32UC HDR 32″ monitor to keep in exchange for writing this review. Imagine my trepidation in finally stepping away from trusted Apple monitors into a brand-new unknown unit. I installed it as my main monitor between the two 27″ Thunderbolt displays. First impressions Size It’s big. It’s much larger than the 27″ displays. Surprisingly it’s only 1.5 pounds heavier. It weighs in at a svelte 25.13 pounds. It’s thin — super thin. From the front of the nearly frameless screen to the back of the case, it’s less than two and three-quarters of an inch thin. Resolution Big doesn’t stop with physical size. The 32″ flicker free screen sports a resolution of 3,840 pixels by 2,160 pixels. Compare that to the Apple 27″ at 2,560 pixels by 1,440 pixels. While it doesn’t seem like it’s all that much, the Asus 32″ allows three full-size webpages to be displayed side-by-side. This is a webmaster’s dream. It is easily a great monitor for Photoshop. There is enough room for the photograph and the numerous panels to show on the same screen. Color space Color has come a long way since the early days of digital and CRTs. The Asus PA32UC HDR monitor covers 100% of sRGB, 99.5% of Adobe (1998) RGB, 85% of Rec. 2020 and over 95% for DCI-P3, the color gamut of iPad Pros, MacBook Pro laptops with wide gamut Retina displays, Samsung Galaxy 8, Google Pixel 3 and Pixel 3XL. DCI-P3 has a 25% larger gamut than sRGB. Video This Asus monitor has picture-in-picture capability as well as picture-by-picture for up to four UHD windows. Other For security, a Kensington lock is provided. The monitor may be used on the desktop with the supplied stand, with a wall mount using VESA. Two 3-watt stereo speakers are built in. Here is a link to the full spec sheet. Setup Monitor stand The Asus ProArt PA 32UC HDR 32″ monitor (from now on known as the Asus 32″) is easy to put into service. The mount goes together with just two simple steps, then it’s ready to attach to the monitor. This is done by slipping the arm into the slot on the back of the Asus 32″. The monitor stand provides amazing positioning flexibility. The clever, solid mount adjusts the height, swivels, tilts and pivots between landscape or portrait configurations. Mouse over each photo for specifications. (photos courtesy Asus) Ports Power and input/output cables plug into the Asus 32″ at the bottom in the back of the screen behind the mount. Input/Output ports 2 Thunderbolt 3/USB-C (1 for input, 1 for output) 4 HDMI 1 DisplayPort 1.2 1 Earphone jack 3.5mm mini 1 USB-3.0 upstream Type-B 2 USB-3.0 downstream Type-A 1 USB-3.0 downstream Type-C Using the Asus PA32UC HDR 32″ monitor Here is my new arrangement of screens. The Asus 32″ is in the center. It’s flanked by the two Apple Thunderbolt 27″ displays. I am working on a Mac Pro (Late 2013) with two AMD FirePro D700 graphics cards. I believe in getting the most powerful graphics cards. This paid off. For this setup, the Asus is connected via HDMI. Thunderbolt 3 with an Apple Tbolt 3 to Tbolt 2 adapter is another option for this computer. While my Mac Pro is too old to have Thunderbolt 3, the Asus 32″ is ready to go if and when Apple releases a new version of it’s a professional desktop computer. That’s comforting. I am a stickler for looking straight into the center of my displays. Every display I have ever used is too low for hours of comfortable work. I use glass bricks to lift them to the right height. The Asus stand raises up and down to easily align its display area with the Thunderbolt screens. Nice! First impressions It’s still big. The screen is evenly lit edge-to-edge to my eye. the photo above shows a little vignetting. It is not noticeable at all in real life. The screen is a non-glare matte finish. Hallelujah! My personal bias opposes the reflective glass screens that Apple now forces on its customers. When I built my new studio, the reflectivity of these glossy glass screens was a major consideration. The wall the monitors face is painted matte black. The detail on the Asus PA32UC is incredible. The true resolution is 3,840 pixels by 2160 pixels. I now sit a lot closer to this screen to be able to read the type. Even though it is small, it is sharp and very easy to read. I can work on multiple screens of information all on the Asus. Before, I was able to show only one screen of info per display. This worked well, but now I am much more productive. Photoshop shows immaculate detail with only the photograph at 100% pixel magnification is shown on the Asus 32″ screen and the palettes and panels open on the right display. Bridge shows the original camera files on the left-hand monitor. Color calibration I use X-Rite tools to calibrate my monitors. The Asus PA32UC HDR monitor is easy to calibrate. It appears to have more neutral grays than do the Apple displays. To be fair, the Apple units are six years old. Since I use them
Monetizing personal projects: The restaurant, part two - This is my sixth year working with an entertainment restaurant. The original relationship was due to a personal project I created and shared with them. A quick recap for those pressed for time will find I photographed a restaurant to learn and practice new photography techniques. I gave the restaurant a framed print. For the full story check out part one here. The story continued and involves another personal project involving a musician, which was also shared with the owners. When the owners saw my artwork they decided to feature the bands and other entertainers in more of an artistic style. While making the artistic images I also supply the restaurant with additional photos for publicity, posters, marketing and social media. The trade deal It would be very difficult for the restaurant to pay cash for this service as the amounts can add up very quickly, especially in the beginning, when so many new performers were being documented. I’m a big fan of win-win situations so we worked out a trade agreement. I normally don’t work a trade for food and definitely will not work for bad food. Here is the set up. The money for the work I do is placed on a gift card. I use the card to pay for my meals and add gratuity in cash. Deal is, if the owners stop actively managing the restaurant or sell, they need to convert the balance to cash. Here are a few samples to give you an idea of the 8×10 framed images for the Hall of Fame. Hall of Fame The Hall of Fame has grown to 115-plus images. I create an artistic rendition of the musicians from their live performance. It would be very difficult to track down people after the fact for autographs. I have them provide their signature and ‘message to the house’ with a black sharpie pen on white paper. I invert the printing from black on white to white on black. Change the Blend mode in Adobe Photoshop to Screen and text will appear white. Viola, I have their ‘autograph’ for the art. As part of the deal, art images are printed and framed to 8×10 and hung in the Hall. Additional images are uploaded for the publicity, poster and marketing purposes. Additional benefit In addition to the trade, each of the images is branded with the Bob Coates Photography logo. A metal print in a niche promotes my story and the Hall of Fame information (look in the back of the Hall photo above). If an entertainer wishes to use the art image they may as long as they are using it to promote gigs at this restaurant. If they want to use the art images or outtakes from the performance in their personal marketing they negotiate additional usage. This has led to extra funds and additional paid jobs with some of the performers. I won’t go into specific numbers but my wife and I have been eating very, very well for the last six years. As that is our entertainment I make this deal out to be not only a win-win opportunity but a win-win-win all the way around! Yours in Creative Photography, Bob
Will I switch from DSLR to Mirrorless? First hands-on with the Sony a9 and the Olympus OM-D E-M1X - This article follows “Are you considering switching your DSLR to mirrorless? I am.” I just got two mirrorless bodies a couple of days ago. One from Sony and the other from Olympus. It’s my first true mirrorless experience — I’ve been a Nikon user since the day I started doing photography. All the equipment that has been sent is loaned and I am not being paid for this review — it’s important for me to mention that. My goal is to share my thoughts on my personal experience and highlight the strengths of both systems. I know conversations can get passionate when people are talking about full frame sensors, crop sensors and micro four-thirds sensors or about this brand and that brand. I won’t get into that. I know I have in my hands two extremely capable camera bodies and all I want to know is: Would either one of them make it worth switching from my trusty D750? Ready? Let’s jump into it! You only get one chance to make a first impression I’m making fun of myself by thinking I look at those cameras as a single woman would look at two potential suitors. I want to be seduced! Even if the packaging isn’t everything, everyone will agree with me: It definitely adds a little something to the first impression. And of course, I’d expect a little extra care from a company that sells multiple thousand dollar gear … A white tee and a pair of jeans vs. a black tuxedo? Well played Olympus, you definitely got me on this one. Now, let’s see what we have inside those boxes … The Sony box includes: a9 body, battery (1), battery charger, strap, USB cable and the little manual nobody reads (this camera retails for $3,998 at B&H). The Olympus box includes: OM-D E-M1X body, batteries (2), charger, strap, USB cable and the little manual nobody reads (retails for $2,999 at B&H). For the sake of this comparison, if I wished to have the same setup than the out of the box with Olympus, I’d have to buy a vertical grip and extra battery (that would be an extra $376 for a total of $4,374). Remember, I don’t have any lenses yet. And just for the sake of having a reason to use a macro, here are a few close-ups or the bodies themselves (taken with my good ol’ D750): Size does matter (does it?) Maybe size does matter to you, maybe not. Anyway, I thought it’d be fun to compare both bodies with the same setup by adding the vertical battery grip to the a9 (the E-M1X’s is built in). I also already put the maximum amount of batteries I was allowed to in each one of them (being two for both). As you can see, the a9 is slightly heavier by 44 grams (I take advantage of this moment to thank Starfrit for sponsoring this scientific test in my kitchen). For more in-depth specs and technical comparison, you can click on this link to learn more about the a9 and this link for the E-M1X. What a feeling Again, I have to give another point to Olympus. The E-M1X ergonomics are wonderful. It feels really good in my hand. (Just for you to remember, I am a 5’4″ female). The grip is slightly wider than the a9’s and reminds me somehow of my D750 grip — which I like. It has a little hook for my fingers so I could carry the body hanging on my side while walking. The Sony is slightly heavier and narrower. It’s very well built and compact and feels like you’re dealing with serious stuff. What’s in store Enough of staring at each of these handsome cameras. It’s time for a first date with each of them! In my next article, I’ll be sharing my experiences during a real-life photoshoot using the a9 with circus artists and dancers. I also have an upcoming photoshoot at an Olympic Weightlifting meet where I’ll to put the Olympus E-M1X to the test. If there’s something you’d like me to try (that is sports related), please leave a comment below and I’ll make sure to include all the suggestions I can realize on my upcoming articles. Until next episode!
Looking at the art behind still life photography - In essence, the art of still life is capturing inanimate objects in everyday settings. Often depicting fruit and flowers, meats and fish. Origins of still life art Still life art has been around since man first learned to create art, but it was not until the early 1600s when painters from the Renaissance really brought it into popularity. In the early days, it often had symbolism and religious overtones as well. Primarily it is all about shape and form and light and shadow. These days in photography, it has taken on its own elements with diverse subgenres as well. Still life or tabletop photography started back in the 19th Century, with photos largely resembling the still life paintings of the Renaissance. Framing and lighting are often more important, having a little more leeway than traditional landscape or portrait photographs. Still life is more popular than ever These days, still life photography is gaining popularity like it has not seen in many years, covering not just fruits and flowers, but food, product and lifestyle photography as well. Some aspects of macro photography can also be included in the still life genre. Access to digital images and the power of social media has brought still life further into the spotlight. We live in such amazing times, in this digital era, we are constantly surrounded by good and bad photography — every day. There is a constant stream of it via TV, advertising and social media. Now, more than any other time in our history has photography been more accessible or easier to create for anyone. Most of us even carry a camera around with us on our smartphones and tablets. Still life, whether that is flowers, macro, product or food photography, is arguably one of the most challenging types of photography out there. But it can also be the most rewarding. Like a painting, you start with a blank canvas and build, layer upon layer, as you stage your scene until you reach the perfect balance of reality and art and then capture it with your camera. Everything in the photo is a decision. Every piece is perfectly placed by the photographer. You are capturing something that did not exist before YOU created it! Making still life photos When you first start out it totally feels frustrating, I know, I have been there. You’re the stylist and the photographer and at first — every decision feels like it is do or die. But if you give in to the act of creation and just go with the flow, you can quickly start to get a feel for what works and what does not. One of the most important elements of still life photography is storytelling. It really is the key to making a great image as opposed to just a pretty photo. There is the story of your main subject and there is also the story of your props. They back up your focal point and help tell the entire story. They give the viewer visual cues; is this a cooking story, or a lifestyle story. A cupcake surrounded by cooking utensils and ingredients would look like a cooking story. Whereas a cupcake on a plate next to a cup of tea could be a lifestyle story. Each photo, each image tells a story, whether it is fresh spring flowers or a tea party, each photo is styled to tell a little more of the story. Some scenes have more complicated stories than others, and it may sound like a lot of work, but it’s really not. The art of still life The art of still life and styling starts long before you press that shutter button. A large part is learning the secrets of what to do; during the gathering, the shoot and the edit. Creative lighting, styling, composition and color theory all play a part in making a gorgeous photo as you see in magazines and online. It is not just a snap of a button and hey presto, a gorgeous still life appears on the screen. So why do people adore this genre so much? True, it is not for everyone, but there is something to being able to control every aspect of a shoot, from posing (styling), to lighting and direction without the need for models or being reliant on the weather. You can truly get into the zone. Creating a still life photograph can be calming, relaxing, almost a Zen Meditation, without the need to even leave your house. You just need a camera, a few props and some light. It’s all about finding the right aesthetic for your style and tastes. So why not have a try at this genre for yourself?Take the Photofocus Weekly Wrap-Up with you to read on the go…
