One of the reasons to fear location photography is the terror you experience when you first see the space you have to work with. The sun may be in the wrong place, the site may be difficult to reach, or the room may be cramped. But, solving those challenges is also what can make location photography so deeply satisfying.
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.
Football players are built differently than the rest of us. They’re taller, they’re wider, and some of them weigh as much as three cheerleaders. But what happens when you have to include 19 of these big men in the same frame for a Sports Illustrated magazine shoot?
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.
