Posts | Dan Bailey's Adventure Photography Blog

The ASMP Guide To New Markets in Photography

Back when I started out as a pro photographer, I followed what seemed like a very defined and obvious pathway when it came to marketing myself and building a successful photography career.

However, times have changed. We no longer live in that world anymore. What seemed obvious to most photographers back then would feel incredibly limiting today, especially to those photographers who are just starting out.

As photographers, we have more opportunities today than we ever had before, but the hard part is figuring out what road to take. How do you figure out how to balance traditional marketing with social media? How do you navigate the needs and wants of today’s client while still holding your work in high value?

And then there’s the biggest questions of all, how do you find new markets and put yourself out there in the best way possible? How do you build a photography career that compliments the life that you want for yourself?

Check out The ASMP Guide to New Markets in Photography. It’s a wonderful new book that is a must-read for anyone is working in the field or who’s thinking about getting into photography as a career. It’s a well written guidebook that’s packed with powerful and relevant insight from a wide array of working pros, who share their own experiences in how to navigate the waters of the new world.

The internet economy has completely transformed what it means to be a photographer, and the The ASMP Guide to New Markets book not only helps you understand that, it shows you how to forge ahead with a business model so that you can remain competitive, viable and successful in today’s world.

Chapters include:

Where are the clients?
The Role of Technology
Where are the solutions that create compensation?
Branding your business
Marketing today
Selling in the new economy
New products and services

The book is broken up into three parts. Moving out of an Area of Conflict asks the questions and addresses the changes that photographers face today, whether they revolve around marketing, licensing or how to adapt to new technology.

The Process of Building a Manageable Solution covers how to build a road map and forge ahead with new ideas and strategies. Finally, Case Studies for the New Economy looks at how other successful photographers have transformed their own business models to meet the demands of today’s photography industry. This section features interviews with 30 photographers and explores the unique and dominant approach that each one has taken to create a workable and sustainable business.

Whether you’re a longtime working pro or an emerging or aspiring photographer who is still trying to figure out your own road, The ASMP Guide to New Markets in Photography is essential reading and an excellent reference for anyone who wants to make money with their camera. In case you can’t tell, I highly recommend this book, and I feel that for the editorial and commercial photographer, this book is one of the the best resources that’s available to day.

Note: If you’re strictly a portrait photographer, then you may be better off reading Dane Sanders’s two awesome books, Fast Track Photographer and Fast Track Photographer Business Plan. Check out my review of Fast Track Photographer here. I’m not really a portrait shooter, but I gained some great insight about branding and building an identity from his advice.

We’re now halfway through the second quarter of 2013, with summer quickly approaching. Once that hits, the year isn’t going to slow down and let you take a break. Now is the time to read this book, so do yourself a favor and spend the few bucks on something that will absolutely make a difference in your photography. I guarantee, it will pay for itself many times over. My copy is sitting on my desk right now.

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April 25, 2013

The ASMP Guide To New Markets in Photography

Creative Tips

Why You Shouldn’t Center Your Subjects In The Photo

One of the first things that we hear when learning compositional techniques in photography is this: Don’t put the subject in the center of the frame. Ok. Sounds good. But why not? And is it ever ok to put the subject in the center?

The human brain is geared around seeing “order.” We’re hard wired to being able to recognize certain patterns in nature, and picking things out that don’t seem to belong. When things don’t belong, they catch our attention, namely because they’re either something that we needed to catch and eat, or something that can catch, eat or hurt us.

When we look at a scene and recognize some sort of pattern or regular order to the world, our mind relaxes and we move on. OK- nothing else to see here, let’s move on to the next thing. Likewise, when you place your subject in the center of the frame, you’ve created a “bullseye” that draws the viewer right in as if the subject were a target. The human eye locks onto the subject, finds that perfect order that’s inherent in a centered subject and then says, Ok, found it. Done. Let’s move on. Next photo.

However, when you place a subject out of the center, at some “random” point in the frame, the viewer looks at the photo and tries to discern a sense or perfect order about it. When they don’t see it, their natural instinct is to remain alert and keep scanning the frame, looking for order. They’ll eventually see your randomly placed subject, and since it doesn’t fit with a natural order, they keep move on and keep looking around the frame.

Here’s the kicker, though. The subject obviously has some importance, or else it wouldn’t be there, right? This unspoken fact causes the viewer to keep coming right back to the subject, just to make sure they’re not missing something. They might do this a few times before finally settling on this new, random order, before finally moving on.

By using this very simple yet effective technique, you create a much more dynamic viewing experience for your audience. Does this mean that you should never place subject in the center? Of course not, but do so sparingly when the situation or feel of the photo calls for it.

April 23, 2013

Why You Shouldn’t Center Your Subjects In The Photo

Publications

Recent Publication: Cover, AOAP Flight Training Magazine

I’m super excited to have the cover photo of this month’s May 2013 issue of AOPA Flight Training Magazine. This photo of an experimental was shot a couple of years ago during the short takeoff and landing competition at the Valdez Air Show and Bush Pilot Fly in.

The STOL competition, as it’s called, is the highlight of the Valdez Air Show, and if you’ve never seen just how short some of these big tire planes can take off and land, it’s pretty impressive. Here’s a short video of the 2011 STOL event, and a video of the 2010 event, which is when this photo above was shot, that gives you an idea of what the Valdez Fly-in is all about. If you like little airplanes, you should make it a point to come up at least once in your life, it’s like nothing else you’ll ever see.

As a relatively new pilot myself who learned to fly here in Alaska just a few years ago, I read every single issue of Flight Training cover to cover during my training, and so I’m honored to have my imagery used like this. This is my second photo of mine that AOPA has featured, the first being a two-page spread of a Cessna 170 ski plane on the Eagle Glacier in the Jan. 2013 issue of AOPA.

Here are a few more photos from the 2010 Valdez Air Show. I’m looking forward to the 2013 Fly-in, which is coming up in less than an month. If you’re there, look for me- I’ll be the guy with the camera and the little yellow Cessna on bush wheels.

April 22, 2013

Recent Publication: Cover, AOAP Flight Training Magazine

Camera Gear, Reviews and Recommendations

My Fujifilm X20 Full Review

Classified: Photographer Looking for Love

Adventurous male photographer who likes to ride bikes, hike long alpine mountain ridges, ski fresh powder and travel to new places seeks companion for a life of fun and exploration.

You must be attractive, capable, confident, easy to get along with, and have a strong creative streak. You don’t have to be perfect- lord knows that I’m a little rough around the edges, but ideally, you’d have the kind of character that makes me fall in love with you. You should know that you probably won’t be my only companion, since I other friends who usually travel with me, but if you treat me right, know that I’ll never leave you behind. Sincerely, energeticalaskadude.

Two weeks ago, love arrived on my doorstep in the form of a brand new Fujifilm X20 (read my first impressions here), and since then, I’ve put it through extensive testing. In other words, I took it on a week-long backcountry ski trip here in Alaska and shot over 1,200 photos with it using multiple settings in varying weather conditions.

So far, I’ve shot action, people, landscapes and a variety of other subjects with it, and in fact, if there’s anyone who’s put the X20 through the rigors more than this, please let me know who they are!

So what do I think of the X20? I love it, but I know that’s not really enough to make for a review, so let’s go in depth and see how it performs.

NOTE: The X20 has been updated to the Fuij X30, which is very . Most of what I’ll say about the X20 in this post applies to the X30. In addition, the X30 has some new features like an EVF and a dual control ring on the lens barrel.

What’s New?

The X20 is built the same X10 body, but inside, Fuji swapped out the old EXR sensor with a brand new X-Trans sensor. This means that the X20 now has the same sensor technology that Fuji uses in the X-Pro 1, the X-E1and the hot new X100S.

The main advantage of the X-Trans Sensor is that it uses a carefully crafted “random” pixel array. Instead of just running RGB RGB RGB RGB RGB… across the entire sensor, which is how most camera sensors are configured, the engineers at Fujifilm have decided to mix things up with how they arrange their pixels.

The problem with running this kind of pixel arrangement is that you run the risk of producing “patterns” in your imagery, which is often rendered as moiré. To get around this, camera companies install an OLPF (Optical Low Pass Filter) over the sensor, which helps reduce those patterns in your imagery. However, an OLPF slightly reduces clarity and sharpness, so there’s a tradeoff.

A random pixel array eliminates the need for an OLPF, so cameras that don’t have one, like the D800E and the Fuijfilm X-Trans sensor cameras, will inherently produce sharper, higher resolution imagery.

How Sharp Are They?

Very. They’re certainly sharper than anything that the X10 could ever do. This is helped by the quality of the glass out front. The X20 has a great lens, and so if you’re using a high enough shutter speed and/or holding the camera steady, image detail is surprisingly sharp for a small sensor camera. I’ve found that the closer you shoot, the sharper your photos. Makes sense, because you’re shooting through less air and haze, which does make a difference.

Here are two examples that shows just how sharp the X20 photos really are. Click the bottom shots to zoom in and to see full size versions. Again, considering that these shots are from a 2/3″ sensor, that’s pretty darn impressive!

What about Noise?

This is other thing that everyone wants to know about, so we’ll move right to that. Yes, the Fuji X20 produces a little bit of noise. Every camera does, and since the X20 sensor is considerably smaller than even an APS-C sized sensor, there’s definitely more here than you’d find on something like the X100S or even the new Nikon COOLPIX A.

(ISO 100: Click to zoom)

That said, for a sensor this small, it’s still very impressive. Moving to the X-Trans sensor has given the X20 less noise than the X10 had. As with any camera, noise increases with ISO. At ISO 100, there is very little to be seen. At ISO 400, you start to see some noise, and it only increases the higher you get.

However, to my eyes, it’s not intrusive. It’s almost painterly in quality. Almost like film grain. Remember that? Back in the day, photographers chose different films based on the grain structure and how it rendered with different subject matter. I find that the noise on the X20, while considerably higher than what I see on my D700, doesn’t get in the way.

(ISO 800: Click to zoom)

(ISO 3200: Click to zoom)

Besides, photography has never been about perfection, it’s about creative representation of the subject matter. To me, noise gets in the way when it’s ugly. Noise on these new Fujifilm X cameras is not ugly in any sense of the word. Even at super high ISO speeds, the noise is kind of pleasing, in the same way that the hexagonal grain structure of Kodak TMAX 3200 black and white film was so cool.

Maybe dedicated pixel peepers would find a problem with it, but I’m not one of those. I’m a photographer. Zach Arias said it best in his X100S review when he noted that pixel peepers might discover that “the third millionth pixel from the left shows signs of herpes.” Again, I ask: Are you a photographer or a pixel peeper?

How The Images Look

The look awesome. With cameras these days, especially from companies that make their own sensors, we’re getting to a point where each model has its own flavor with regard to how it reproduces subjects. I love how the X20 renders subject, and combined with all the different film simulations, there’s an incredibly wide palette of possibilities with this little camera.

The colors are Fuji-rific, and exposure is usually right on. In some lighting conditions, a little bit of exposure compensation is required, which is easily adjusted with the little metal dial right on the top of the camera.

The recent Lightroom, Aperture and iPhoto updates offer wider capabilities for processing RAW files. This means that photographers can extract even more image quality out of the X20, but honestly, the Fujifilm EXR II image processor is so good that I’ve been totally happy shooting JPEGS. If I get around to shooting RAW in the future, I’ll let you know.

Available film simulations on the X20 include Provia, Velvia, Astia and a host of classic Fuji color and black and white neg films, plus Sepia. I especially love the black and white modes, and found myself using them quite a bit on this ski trip. When the light wasn’t ideal for shooting in color, BW seemed to do the trick.

And then there’s the stuff like retro mode, miniature and panorama, which only add to the fun. It’s all about expression- kind of like Instagram right on board. Would I send photos like this to a client? Probably not, but who cares. It makes me happy.

Performance

The X20 has an updated autofocus system which includes phase detect sensors that are tucked into the sensor array. This gives it even faster AF performance than the X10 had. Combined with a variety of focus modes, including face detection and focus tracking, it does an incredible job of quickly finding and locking on subjects.

Although during this trip, most of my actual downhill ski photography was done with my D700, I did use the X20 on a few occasions, just to see what it could do. I have to tell you, I was quite impressed. Also, the X20 shoots at a max frame rate of 12 fps. That’s blazingly fast!! The Nikon D4 only shoots at 11 fps. I almost always keep it on 3 fps continuous mode, just so that I don’t miss anything.

I kept the X20 around my neck/shoulder during this entire trip and often used it in conjunction with my D700. It complimented whatever lens I happened to have on my DLSR at the time. If I saw a scene unfold in front of me, rather than stop and change lenses, I simply grabbed the shot with my X20 and moved on. Maybe I didn’t get it in the highest resolution possible, but in my mind, that not as important as capturing the moment.

With regards to durability, the X20 handled the elements quite well. I skied a number of runs with it around my shoulder and it got covered in snow numerous times during the week, it got wet, it got knocked against my D700, and it withstood a week of cold temperatures. It even kept working at zero degrees for hours during our coldest day out. I don’t know if anything has changed since the X10, but I don’t remember the X10 being able to withstand those kinds of temps.

I talked to a friend recently who has a brand new Sony NEX 6, and he told me that it performed really poorly in the cold when he took it skiing the other day.

The New Advanced OVF Optical Viewfinder

It rocks. Period. The new OVF viewfinder on the X20 has a tiny digital trans panel that projects shooting and focus info into the optical viewfinder.

I love that the X10 and X20 have an optical viewfinder. It’s not perfect, it only shows about 85% of the frame, but in bright sunlight, it’s pretty hard to see the LCD panel. In bright sunlight when you’re on snow while wearing sunglasses, you can’t see the LCD AT ALL.

The new OVF on the X20 displays your focus area and shooting info right in the viewfinder. This is a very welcome upgrade, and probably my favorite new feature. It makes the X20 feel even more like a real camera.

Final Thoughts

Last year, I wrote a post called 10 Things I Love About The X10. Everything I said back then applies to the X20. Overall, I think that Fujifilm did a great job with both the X10 and the X20. In fact, I think that they’ve done an incredible job with their entire X lineup, and I wouldn’t mind owning every single one of those cameras, especially the new X100S and the X-Pro 1.

However, I’m a Nikon DSLR guy. That’s what I mostly use, and so it’s just not feasible for me to get into another system. That said, I love the flexibility of the X20. The 28-112mm f/2.0-2.8 lens comes in really handy for a variety of applications, and in fact, it makes the camera much more usable for a photographer like me. I just wouldn’t do as well with a fixed lens camera, I’d feel too limited. Funny I should say this, because most of my Nikon lenses are fixed primes.

When compared to other compact camera systems, including those which cost considerably more, the Fujifilm X20 definitely holds its own. It may not be the number one camera in every single category, because there are cameras out there that have higher MP counts, larger sensors and more features. However, when you look the camera as an entire unit and gauge all that it can do, you find that it stacks up quite well against everything else. I hold that it’s definitely one of, if not the best all around camera in it class.

Overall, the X20 is an incredibly capable and versatile little camera that has a wide array of very usable features. It’s built well, it shoots great looking photos, and of course, it’s got a great classic design that MAKES you want to hold it in your hands and shoot photos with it. In my mind, that goes a long way, because when it all comes down, a camera is just a tool for capturing moments in life. If you don’t have it in your hands, you’ll miss the shot.

It’s also a pretty rugged little camera. Here’s a story about a hiker who lost her X20 on the trail for 3 months. It survived getting rained on, snowed on and even chewed on by a bear. At the end of the season, she found the camera, and after drying it out and charging the battery, it still works fine!

Plus, it doesn’t cost an arm and a leg, so I’m not afraid to take it out into the world and really use it. Most of all, though, the X20 feels like a real camera in my hands, and that makes me love it.

And while it’s not as good as some cameras that cost twice as much, the bottom line is that the X20 is definitely good enough for occasional pro work. I don’t plan on selling my Nikons, and they’ll certainly see heavy action for most of my assignment and pro outdoor work, but for the times when I want to travel light and fast through the world, I can shoot with full creativity and the confidence to send X20 images to clients as needed.

I’ve already sold a few X10 images to clients, including one as a large format stock photo reproduction, and the X20 is even better. In the end, creative clients care more about the overall feel of an image than how densely packed the pixels are. If it communicates the right message, then they could care less what camera was used. What matters is if the camera you use inspires you to make those images. For me, the X20 fits that bill.

What if you already have the X10? I already have an X10 and I bought the X20. Why? Because for as much as I use it, and for the fact that my X10 essentially paid for itself from the images that I sold with it, I figured that it would be a good investment to upgrade. If you JUST bought an X10, I’ll say this: The X10 is still a great camera that takes gorgeous looking photos, so it’s up to you.

Support this site: Although the X20 is still available, it’s now been updated to the Fuij X30. If you want to fall in love with this little camera too, please consider picking it up through these links at B&H Photo, Amazon or Adorama. This helps me keep reviews like this coming and it doesn’t cost you anything extra.

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April 18, 2013

My Fujifilm X20 Full Review

Camera Gear, Reviews and Recommendations

Comparing Nikon Zoom Lenses: 70-200mm f2.8 G VRII vs. 70-200mm f/4G ED VR

As a pro outdoor adventure photographer for over sixteen years, Nikon telephoto zoom lenses have been integral and vital tools in my work. I’ve depended on them to help me define my style, and the’ve never let me down, even though they’re much heavier and more expensive than slower f/4-5.6 models or kit zooms.

Put simply, a good telephoto zoom is a professional grade tool that will get the job done, and having one in your arsenal is a must if you want to produce imagery that stands out from the crowd.

Here’s a practical look at the two 70-200mm zoom lenses that Nikon currently offers and the reasons why you might choose one over the other. If you’re in the market for some new glass, hopefully this post will help you decide which one to buy.

Nikon AF-S 70-200mm f/2.8G ED VRII

The Nikon AF-S Zoom-Nikkor 70-200mm f2.8G ED VRII has been a top choice for sports, action, wildlife photographers and photojournalists for years. It’s got fast, f/2.8 ED glass, Silent Wave motor internal focusing and a great Vibration Reduction system that allows for shooting at much slower shutter speeds then you could normally do with a lens of this focal length.

It’s also a built with rock solid construction. Like a tank. Weighs well over 3 pounds. Slap this on a D4 and a mugger wouldn’t stand a chance. Comes with a removable tripod collar, which is a nice feature, especially considering that Nikon’s first 80-200mm zooms didn’t even have a one. Back in the day, you had to go find a custom made third party collar.

Image quality on the 70-200mm f2.8G ED VRII is top notch. It shoots to pro standards in every single way and its 9-bladed aperture diaphragm produces beautiful, out of focus bokeh, which makes your subjects stand out with tack sharp prominence against gorgeous, soft backgrounds.

It’s not cheap, though. New, the Nikon AF-S 70-200mm f2.8G ED VRII costs $2,399. Ask any photographer who owns one, though, and they’ll say it’s worth the price. Why? Because, as I said, it will get the job done. Action, wildlife, people, low light, this thing will do it all. Need to hammer nails? Will probably do that too.

Nikon AF-S 70-200mm f/4G ED VR

nikon 70-200 f4 — Nikon AF-S 70-200mm f/4G ED VR

Choice number two: Nikon’s latest offering, the Nikon AF-S 70-200mm f/4G ED VR Telephoto Zoom Lens. Canon’s had a lens like this for years, so it’s about time that Nikon finally got one into the marketplace.

The new 70-200mm f/4G ED VR is an impressive lens. Make no mistake, even though it’s much less expensive than the f/2.8 version, it has all of the same trappings that make its big brother such a rock solid lens: AF-S silent wave internal focusing, Nano Crystal Coat, Nikon’s Super Integrated Coating, ED glass and a brand new Vibration Reduction system that’s supposed to give you five stops of VR. Also works on both FX and DX bodies.

In fact, when it comes to image quality, this new 70-200mm f/4 lens is second to none, even when you throw in Nikon’s top of the line 70-200mm f/2.8 lens. In a recent test by DxO Labs, this new f/4 lens was given the highest score, according to overall performance for a telephoto zoom on the demanding Nikon D800. The test focused on things like sharpness, light transmission, chromatic aberration and vignetting.

The really big deal with this lens, though, is that it only costs $1,399. Yes, you read that right. A thousand dollars less than the f/2.8.

So what’s the tradeoff? Only a single stop in light loss, which is not as much of an issue with digital cameras than it was back when we were shooting 25, 50 and 64 speed slide film. Plus, it’s made with more plastic and polycarbonate. Even though it’s a pro lens when it comes to image quality, it may not stand the same abuse as the more expensive f/2.8 version. Probably won’t drive a nail all the way in.

So, which one should you buy?

I’ve been using the new 70-200mm f/4G ED VR lens for a few months now, and I can attest that it’s an excellent lens. Image quality is stunning. Tack sharp, edge to edge, high contrast and beautiful exposures. (Read my full review of this lens here.)

The VR system is quite impressive as well. I’ve hand held this lens down to 1/50 sec, even when zoomed all the way to 200mm, and still gotten sharp photos. I could never do that with my older non-VR zoom.

That said, I’ve also used the 70-200mm f2.8G ED VRII as well. It’s truly an awesome lens. Every assignment photographer should own one, because as I said, it will get the job done, and it will stand up to whatever abuse you throw at it. And even though it ranked second behind the new f/4 version in the DxO Labs test, it wasn’t by much. You’ll never notice the difference.

If you’re a full time shooter who shoots everything in all lighting conditions, especially subjects that are inside or that move in low light, then I’d say you probably want the 70-200mm f2.8G ED VRII lens. Also, if you think that you’ll be banging the S*** out of your lens, then get the f/2.8. It’s definitely more durable, although it is heavier, so if weight is a big issue, then you might look towards the lighter f/4 version.

However, if you’re an outdoor photographer or someone who shoots mostly in natural light, or if you carry your equipment into the backcountry to shoot adventure sports or landscapes at first and last light, then the choice is simple. Get the new 70-200mm f/4G ED VR lens. You’ll be saving a pound and a half, which is HUGE when you’re hiking, skiing or backpacking with your camera gear.

I just did a week-long backcountry ski trip here in Alaska, and I carried this lens with me every day. Compared to my heavier f/2.8 lens, it’s way lighter, and in fact, I often skinned with it on my D700 body slung around my shoulder. This meant getting the shot when it unfolded. With my bigger f/2.8 lens, I usually have to stop and dig it out of my pack. That time lost can often mean missing the shot.

It’s also durable enough. I wouldn’t hammer nails with it, but I’ve banged it around enough during the past few weeks. I’ve even fallen down on the ice with it right on the lens hood, and it’s no worse for the wear.

Then there’s price, and this is where it really counts. Unless you NEED that extra stop of light or the extreme durability of the f/2.8 version, then I’d recommend getting the 70-200mm f/4G ED VR and saving a grand.

Think of what you could do with an extra thousand dollars? You could almost buy a brand new Nikon D7100 body with the money you save, and then you’d have an effective 300mm f/4G ED VR lens and a body to put it on. Or you could buy a round trip plane ticket to some new, exotic destination where you can shoot tons of awesome photos with your new lens. That sounds like a much better investment in your photography.

Support this site:

Finally, if your lens buying stars are in alignment, you can show your appreciation for this review by ordering from one of the links below. By doing, you’ll throw a tiny bit of cash my way and it won’t add any additional cost to your order. It can be your way of saying, “Thanks, Dan!”

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April 17, 2013

Comparing Nikon Zoom Lenses: 70-200mm f2.8 G VRII vs. 70-200mm f/4G ED VR

Personal and Pro Insight

Are You A Photographer or a Pixel Peeper?

I shot this photo above with my new Fujifilm X20 out the open window of an airplane that was going about 80 miles per hour at an at altitude of 7,000 feet. It was zero degrees outside the cockpit and I was wearing thin gloves. I love flying over the Chugach Mountians at sunset and I just think that it’s amazing to live in a place that’s surrounded by such incredible scenery.

When you zoom in to full size on this photo, you can see that there’s a little bit of noise in the shadowed areas. Not tons of noise, but enough that it’s noticeable if you were really looking for it. After all, I shot it with a camera that doesn’t even have an APS-C sized sensor.

I shot this photo above with my old Nikon D200 a few years ago while backcountry skiing with some friends on New York Mountain in Colorado. Good group of guys, all on a hut trip together, making turns in fresh powder. Some people were better skiers than others, including me, who would sometimes fall down in the deep snow. It’s really hard to get up when you wipeout in fourteen inches of snow while going downhill. I remember that it was really windy on the ridge.

If you were to zoom into this photo, you’d see that it’s certainly not as sharp as one that was shot with a brand new D800, or even a D600 or D7100. Looking back now, the D200 almost seems like a relic. Imagine if I could go back in time and re-shoot this photo with a D800E. It would be SO much sharper!

I made this shot above a couple weeks ago with my X20. I was goofing off in the neighborhod park with my friends and their kids. Nice Alaska spring evening, where the sun doesn’t set until after 8:00 PM. It’s funny to watch the little kids play on the jungle gym and on the slide all bundled up in winter clothes.

There’s definitely noise in this photo. I was playing around with shooting in 1:1 square format, which looks fun, but due to the crop factor, is not even close to the highest resolution that the camera is capable of producing.

There we have it. Three pictures. None perfect. All flawed in some way if you were to compare them to photos that were shot with “better” cameras. And I haven’t even mentioned iPhones yet.

My question to you is this: Are you a photographer or a pixel peeper? What really matters to you, noise and ultra high resolution or light, moment and memories? What is photography anyway? Is it about perfection or is it about feel?

Remember the days of film? I know that some of you do, but for those of you who never ran a roll of emulsion covered celluloid through your camera, it wasn’t perfect. It had this thing called “grain,” and there was never any way around it. Film had limitations. Film had imperfections.

Film had character, though, and in fact, people chose different film stocks largely because of the look that it imparted into our imagery. Some people even liked films with more grain because it looked “gritty.”

Ironically, we’re starting to get to a place in digital photography where we’re becoming less obsessed with megapixels and more fascinated with “look.” Camera sensors from different companies each reproduce subjects in a unique way, and to many photographers, that’s starting to matter as much as how many pixels are crammed into their cameras. (Check out this great post by Chase Jarvis called, The Camera Sensor as Emulsion + Why Your Digital Camera is More Like Film Stock Than You Realize.)

So, I’ll ask you one more time. Are you a photographer or a pixel peeper? If you’re a photographer, then get a camera. Any camera, preferably one that feels good in your hands that you like using, and go have fun with it. Make some pictures. Explore your creativity. Live life. Breathe. Be free.

If you’re a pixel peeper, then, sorry, I don’t have any advice for you, except maybe to go buy a bigger monitor.

April 16, 2013

Are You A Photographer or a Pixel Peeper?

Featured Images, Trips and Expeditions

Alaska Backcountry Skiing Trip Teaser

Last week, three friends from Colorado came up to join me for a good old fashioned Alaska backcountry ski trip. (Two of the three are the same friends I skied in the Canadian Rockies with a few years ago.) We’d been planning our trip for months, but Alaska didn’t quite cooperate. A huge double storm system hit just as they arrived and threw everything out the window.

Fortunately, we were able to adapt, and over the next seven days, we found great snow, great weather and solid avalanche stability. Here is a tiny teaser of images from our trip. WAY more photos to come this week. In fact, these are just from a quick glance at the first day. I haven’t even looked at the rest of the shots myself yet.

Not only did this trip turn my quads into rubber bands, it gave me an opportunity to do some extensive testing on both the new Nikon AF-S 70-200mm f/4G ED VR lens and the new Fujifilm X20, which I’d gotten just a few days before the trip.

I’ve been using the new Nikon 70-200 zoom quite a bit during the past two months, so I already knew how well it performed. However, the X20 is brand new. I’d hardly used it at all, save for shooting a few quick snaps in my neighborhood.

I’ll be doing a full review of the X20 very soon, (read my first impressions here), but for now, I’ll just say that it’s an awesome little camera that has won my heart even more so than the X10 did. I put it through a lot during this trip, and it performed like a champ. Let’s just say that the X20 is my new best friend.

Enjoy the pics and consider signing up for my newsletter so that you won’t miss the rest of my Alaska ski trip photos and my upcoming X20 review.

April 15, 2013

Alaska Backcountry Skiing Trip Teaser

Camera Gear

Fujifilm X20 – First Impressions

The nice man in the big brown truck brought me a brand new Fuji X20 yesterday. A day earlier than I was expecting. Imagine my joy! Just like Christmas! No really… it was just like Christmas, because I was out shoveling snow. Except the days are longer snow, so maybe like Christmas in March or something.

Anyway, having thrown my X10 into just about every single photo situation that I can think of during the past year, I’ve been very excited to try out the X20. Essentially, it’s the same camera body, but inside, they’ve inserted a brand new sensor, an optical viewfinder overlay that displays shooting and focus info, and updated some of the features and software.

New Sensor

Although pixel count has not changed, Fuji ditched the EXR sensor and went with a 2/3″ 12M X-Trans CMOS sensor, which is the same sensor technology found in the X-Pro 1, the X-E1 and the hot new X100S.

The main advantage of the X-Trans sensor design over the EXR sensor is that by using a random pixel arrangement on the sensor, they’re able to eliminate an OLPF (Optical Low Pass Filter) in the sensor array. With most camera sensors, an OLPF filter eliminates possible moiré, but the trade off is a slight loss in resolution. For the same reason that the D800E is sharper than the D800, the OLPF-less X20 is rated to render higher resolution images than the X10, but without the risk if having moiré problems.

Also, the X-Trans sensor architecture allows for phase detection pixels to be placed into the array without affecting sensitivity. This allows for faster AF performance.

Image Quality and Resolution

Having only had the X20 in my hot little hands for just a few hours, I haven’t had the chance to test out and compare all of the features against the X10. However, the few images that I have shot have left me impressed and have confirmed that, not only are images from the X20 sharper, the upgraded EXR II image processor is a more advanced unit.

In my mind, these two shots below tell the story. The first is shot with the X20, the second with the X10 just a few moments later. Note how the X20 rendered the sunstar, while the X10 just blew out that corner of the frame. Huge improvement. Remember the ORB issue that plagued early X10s? Gone.

For my highly scientific resolution comparison, I took pictures of frost on my truck. Both images were shot at ISO 100 at around 1/400 sec. Left and top is the X20, right and bottom is the X10. At full size, they look pretty similar, but when you zoom in, there’s a noticeable difference. Click the zoomed in images to see full size, 100% crops.

Here’s another example. Top is X20, bottom is X10. Click the images to see full size, 100% crops. Again, noticeably crisper images from the X20.

Finally, check out how the X20 rendered the text in this shot below. Pretty sharp. Yes, I took my new X20 to bed with me. You would too, so don’t lie. Click the second zoomed image to see a full size 100% crop.

New Features

Manual Focus: Although there are quite a few feature improvements on the X20, I’d like to highlight one that I feel is pretty cool. Manual focus. I NEVER used it on the X10. Ok, I used it ONCE when I first got the camera, just to see how it worked. Then, like everyone else in the world, I saw how worthless it was, and never used it again. Ever.

Manual focus on the X20 is a totally different beast. Fuji has added Focus Peak Highlights, which frame a ring of white around your subject when it’s in focus. Plus, it zooms in while you’re focusing, which makes it so much easier to fine tune focus on subjects that are really close up. Think macro on a tripod. So much more usable.

Advanced OVF: Finally, there’s the brand new OVF overlay. I really like having an optical viewfinder, because I feel I’m looking directly at the subject I’m photographing, instead of watching it on a little tiny TV. Just feels more tactile. That said, I don’t use the optical viewfinder on my X10 all the time, but there are times when the LCD is worthless, like in really bright sun.

The new advanced OVF in the X20 features a Digital Trans Panel that sits within the glass elements of the viewfinder. It displays a variety of shooting info, including focus area, shutter speed, aperture, shooting mode, focus lock and ISO.

This is a really nice addition. Makes the X20 feel even more capable. Like a camera should feel. With this features, I can see using the OVF even more now on the X20.

Drive Button Placement: Finally, I like that Fuji swapped out the AF button with the Drive button on the X20. The Drive button used to be on the top of the rotating thumb dial, and I was always hitting it accidentally, especially while wearing gloves. I would suddenly find myself shooting in some high frame rate or bracketing mode that I hadn’t intended. Sticking that button out of the way and over on the side makes a lot of sense. I’m sure I’ll love that change.

Final Initial Thoughts

I’ve got to hand it to Fujifilm, they’ve really hit it out of the park with their X-Series cameras. They seem to have a growing following of very dedicated users who really appreciate the classic design and styling that their new cameras have. I’m definitely one of them.

Also, their sensor technology is absolutely top notch, which is where it counts. Combined with their amazing image processing, the JPEGS that I get from my X10 cameras are simply stunning. From my very short experience so far with the X20, I see even better results. This from a guy who ALWYAS advocates shooting RAW with DSLR cameras.

I know that guys like Zach Arias and David Hobby swear by the X100S. They have every right to. The X100S is an outstanding camera with an APS-C sized X-Trans sensor that produces unbelievably high quality photos. I would probably love to own one as well.

However, for the wide variety of outdoor photography that I do, which includes landscapes, portraits, travel and yes, even action, I just love the versatility of the X20 and having a wider-angle to short-telephoto zoom that does ultra close up macro up to 1cm. Also, having a capable camera that costs half as much as the X100S means that I won’t be as afraid to bang it around outside.

Edit, April 11: In fact, right now, I’m in the middle of a week-long backcountry ski trip, and I’ve basically been using the X20 as a second, super lightweight body. Believe me, it’s seeing extensive use and getting covered in snow every day and it’s still performing great! Can’t wait to show you these shots!

And even though it has a smaller sensor, than the X100, I’ve gotten publishable quality imagery out of the X10, some of which I’ve licensed to my pro clients. My X10 paid for itself many times over, and that’s why I went ahead and bought the X20. For as much as I’ll use it, I’ll take image quality that’s a definite step above the X10.

Bottom line: Compared to the X10, the X20 is sharper, and the image processing on it is noticeably better. (Edit: I’m back from my ski trip and shot over 1,000 images with the X20 during the course of a week. I’ve posted my full X20 review here.)

Support this site: If you think you want an X20 too, consider grabbing one through the links below. It’s like your way of saying, “Thanks for jumping in the pool first and then taking the time to tell me how warm the water is!”

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April 2, 2013

Fujifilm X20 – First Impressions

Personal and Pro Insight

Photographers: Don’t Reproduce a Subject, Abbreviate It

While on vacation this past weekend, I popped into a little art gallery and treated myself to some wonderfully inspiring eye candy. Some of the paintings I saw were geared around rich, bold colors and simple subject matter, while others were focused more on shapes and textures. I really liked the set of really cool duotone ink drawings that were made up of large areas of either white or black. Very minimalist, yet you could still clearly see what the subject was supposed to be.

Perhaps my favorite was the collection of sketches that were made by one of the painters as she planned out the ideas for her paintings. Even though I can’t draw very well, there’s something that’s always fascinated me about sketches, because in my mind, it’s about the simplest art form there is. Pencil, paper, a few lines, scribbles, maybe some shading and you’re done.

Then I saw the photographs. All landscapes. And they all sucked.

Ok, maybe I’m being a little harsh here, which is why I won’t tell you the name of this gallery. I’ll just say that the photos I saw were all bland, boring and totally uninspiring in any way. Cluttered snapshots printed on big paper and framed to look stunning. Only they weren’t stunning, they were boring. Ho hum. Back to the paintings.

As a pro photographer, am I just too jaded to appreciate these kinds of art photos? No, I’ve thought about this kind of thing a lot, and that’s not it. Here’s what it is:

You see, artists “get it.” Art is not about reproducing your subject, it’s about representing your subject. Abbreviating and showing a small part of the world in your own creative way. They’re forced to get it, because the simple fact is that painting and drawing will never look exactly like real life. Artists don’t set out to create real life, they strive to create visual representations of real life, while imparting a specific and unique flavor to their work.

As photographers, we’re not forced to “get it.” We can take our cameras and capture real life and show everything in our frames down to the last detail, which is what many beginning and struggling photographers tend to do.

However, that doesn’t cut it. As viewers, we just don’t care. We see real life every single day and so just seeing it all again just doesn’t excite us. What excites us is seeing part of it it in a way that we hadn’t thought of before; seeing it in a way that accentuates specific details that we might not have noticed as we sped through life.

Or the way that two subjects interact and relate with each other. Or the way light plays off of a certain subject at a certain time of day that only certain people ever get to see. Or a fleeting expression that communicates emotion. Or part of a subject that makes our brains imagine the rest. This a big one and one that I stress to my students all the time: Any time you can invoke the viewer’s imagination, you’ve gone a long way towards creating a successful image.

Want to be a better photographer? Go look at some art. Spend some time checking out some paintings and drawings and pay attention to how little the good ones actually show and HOW they show it. Better yet, pick up a pencil and try to draw something using as few strokes as possible, just to get a feel for how abbreviating a subject will engage your mind to fill in the rest. This helps you see more creatively.

Then, the next time you pick up your camera, instead of trying to capture, strive to create.

If you liked this post, check out my latest eBook, ZEN PHOTOGRAPHER, Turning Your Passion into Focus. It’s a collection of introspective articles about the creative and inspirational process of photography. Check it out here.

April 1, 2013

Photographers: Don’t Reproduce a Subject, Abbreviate It

Camera Gear, Reviews and Recommendations

My Lightweight Adventure Photography Camera Setup

The other day during my one hour live interview on Google+ a viewer asked me to describe my ideal lightweight outdoor photography setup. In other words, what camera gear am I likely to grab when I’m heading out on an adventure? I thought that it was a great question, so I’ll repeat my answer here to the rest of you.

These days, my current lightweight camera gear setup includes the following:

DSLR camera body
Fixed wide angle prime
Lightweight Telephoto VR Zoom
Compact Camera
Small Adventure Photo Backpack

If I think I’ll do some flash work when I’m out there, I’ll add a single Nikon Speedlight, like the SB-700, a sync cord and a tiny softbox to the mix. Here’s the detailed rundown of what I use and why.

Nikon D700 Camera Body

Even though it’s discontinued, the Nikon D700 is still a great body that produces beautiful image files. I continue to use it as my main DSLR camera because it has all the features I need for shooting pro adventure work. It’s lighter and much less expensive than a D4, shoots a higher frame rate than the D800, its 51-area autofocus sensor has a wider array in the frame than the one on the D600 and unlike the new D7100, it shoots full frame.

That said, if I were going to start over today, I’d probably get a D800, although I’d take a serious look at the D600 as well, because its quite a bit less expensive and has most of the same features. With current price reductions, the D800 costs about the same as what the D700 was when it was introduced a few years ago.

From that standpoint alone, it’s better a camera for the money. In my mind, the only thing missing is the higher frame rate, but while 6 fps comes in handy for shooting straight action, for most of my adventure shooting, the reality is that 4 fps is plenty fast.

This week, I’ve been taking a close look at the D800E, and I have to say that I’m really impressed. Image quality is simply stunning and I may end up going that way before too long. I’ll post a review of my D800E impressions soon.

Nikon AF 24mm f/2.8D Lens

I love my fixed 24mm. I’ve had it for over 15 years and it goes with me EVERY SINGLE TIME I leave the house with my DSLR. Every single adventure, trip, assignment and photo shoot of any kind. It’s my go-to wide angle lens for landscapes, cityscapes, environmental portraiture, action and anything else where I need a wide view.

The fixed 24mm f/2.8 lens is an older non AF-S D model, but it’s still tack sharp and performs like a champ. It’s compact, lightweight, fast and incredibly versatile. I love it because it gives me that “Right in the middle of the action” feel that I feel is so indicative of my style.

In the same way that photojournalists and Fuji X100 users love the look and feel of a fixed 35mm lens, I love the 24mm. It gives me a slightly wider angle of view that, in my mind, makes it a little more usable for adventure and outdoor work.

Nikon 70-200mm f/4G ED VR Lens

My new favorite lens. The new AF-S 70-200mm f/4G ED VR Telephoto Zoom is a fantastic lens. As an adventure photographer, it’s the lens that I’ve been dreaming about for years.

Throughout all my years as a pro, I’ve been lugging around my heavy 80-200 f/2.8 lens, which weighs 3 lbs. I rode with it on my bike over the highest passes in the world. I’ve taken it skiing on LONG Alaska mountain days. I’ve hiked peaks with it. Sure, it slows me down, but I just love the look and feel of shooting with a long lens. It isolates subjects so well and makes the pop against a soft background of dreamy bohek. You know, that “pro” look.

This new AF-S 70-200mm f/4G ED VR from Nikon costs nearly a thousand dollars less than the new AF-S 2.8 version. It’s also considerably lighter, which makes it perfect for the backcountry. It’s even light enough for me to use one handed. Think I’m kidding? I shot the lead off photo at the top of this post one handed while riding my snow bike on the ice.

After shooting for years with f2.8 lenses, I’m finding the one stop tradeoff to be a non issue for outdoor work. Add to that the fact that his lens has all the pro trappings of Nano Crystal Coating and ED glass elements, make no mistake this is a high quality lens all the way. I’ve even tested it on a D800E with superb results. Tack sharp, edge to edge.

If that’s not enough, I’m blown away by the VR capabilities on this lens. Although it won’t do much if your subject is moving, if you’re shooting still, you can hand hold this lens WAY slower than you could if it were non-VR. I did some tests yesterday and was able to get razor sharp photos shooting at 1/30 sec with the lens zoomed all the way out to 200mm. I could never do that with my older, non VR telephoto zoom.

Compact Camera: Fuji X20

If you’ve read my blog before then you know how much I love the Fujifilm X10.

In the past year, I’ve put it to the test and thrown just about every single outdoor photography situation at it. I’ve shot adventure, action, portraits, travel, landscapes and just about everything else with great results. I’ve even had large format reproductions published from it by pro clients.

Of course Fujifilm just updated the line and introduced the X20, which has a new 12MP X-Trans sensor with no low-pass filter. This makes it even sharper. Plus they added a host of new features and upgrades that make the X20 an incredibly capable little camera. I’ve already put the X20 to the test, and it performs like a champ. I love it. (Read my full review here.)

The X20 may not have as big a sensor as the X100, but the image processor is still awesome and it’s got a zoom lens, which makes it way more versatile for a guy like me. I’ve worked it seamlessly into my style. When I want to do an ultra lightweight all day adventure, I’ll often just grab the X10/20. In fact, last fall, I did a week long bike tour in California last fall with ONLY the X10. A week away from home and no DSLR. I didn’t even feel naked, but I sure felt unencumbered.

Often times, like during this glacier bike ride that we did last weekend, I’ll keep it around my neck and shoot with it as a second body, especially if I’ve got the 70-200 zoom on my DSLR. In less time that it takes to change lenses, I can just grab a wide angle shot with the X20 and be done.

Another reason I like to bring a small camera like the X20 with me is that I can give it to a friend and have them grab shots of me or my gear in action. Or if I just want to be nice and share. 🙂

Camera Pack: Lowepro Flipside Sport AW 10L

For carrying this minimal, yet versatile selection of camera gear, my pack of choice these days is the Lowepro Flipside Sport AW 10L. It’s small, but it has quick access to your gear through a zip-open back panel that you can reach without taking the pack off.

The 10L holds a DLSR with the long telephoto zoom attached, plus one or two spare lenses, a compact camera or flash, plus snacks, extra layer and a small tripod if you want to carry a set of lightweight legs. It also has a hydration pocket that fits a 25 oz. bladder, which isn’t a huge amount of water but it keeps things light.

I like the 10L size for light and fast day trips, but if I want to bring more gear or an iPad, I might opt for the 15L model. There’s even a newer 20L model that fits quite a bit of gear, but still has the same flip back panel design.

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So, there it is- my ideal fast and light adventure photography kit in detail. It gives me wide angle, telephoto, mid range with the compact camera and it doesn’t slow me down.

Works great for biking, hiking, peak bagging, trekking, trail running, nordic skiing, ice skating, cross country bowling and just about any other lightweight day-long excursion I can think of. Maybe it will work for you, or at least give you some ideas for creating your own light and fast kit. If you’re a Canon user, then you can easily adapt this to your own brand, since they have the same style lenese.

Support this site. If you do decide to pull the trigger on any of this gear, or any other gear for that matter, please consider clicking through these links. I get a small commission from anything you buy, which helps me out. It’s like saying, “Thanks, Dan, for taking the time to share your insight and write these blog posts which distract me from my work.”

As a Lowepro Pro user, I can offer you a special discount if you buy directly from the Lowepro site. Click the banner below (or click here), use discount code LP20 in your shopping cart and you’ll save 20%. (US Customers only)

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March 28, 2013

My Lightweight Adventure Photography Camera Setup