Stories about photography gear, finding a photographic specialty, developing a style, negotiating a contract, licensing pictures, balancing family and career, planning for the future, and staying ahead of the competition.
I used to believe that professional cameras were little more than a light-tight box. Unless someone needed a super-speedy motor drive, it always seemed like it was the quality of the lenses that mattered more than anything. I was mistaken. I now believe that the camera itself can contribute as much to the technical quality of a photograph as the best lenses—and more.
You never know how a day of photography is going to turn out. Some projects can be one challenge after another, while others proceed without a hitch. One thing you never expect is a day of photography that ends with someone almost dying.
When I started using Speedlights, I was hoping that I might be able to use them for some of my work without feeling like I was cheating my clients. A few months and many projects later, the only one I feel like I’ve been cheating is myself—for not ditching the studio gear more often. These days my Speedlights are getting a very regular workout and I feel pretty foolish for not looking into them years ago.
If you’re a photographer with a fine portfolio of work who wants to be found, who wants to be hired, and who wants to be valued—but you’re still waiting for the phone to ring—read on.
A camera is simply a tool that allows me to capture light in a box and hold it there until I’m ready to see it or share it. But a camera is also an extension of my mind and intention. To that end, a great camera can be a frictionless part of the process, while a poor one can be a frustrating impediment.
The results of both the testing and the real-world use were repeatable and the conclusion was irrefutable. I wasn’t using the right camera for the kind of work I do and I decided that it was time to make the switch to Nikon. And so I have.
