FAMILY PHOTOGRAPHS

Backyard Astronaut in1994 taken with a Nikon N90 shot on Ilford HP5 Plus. I barely remember taking this photograph, but it has become one of my favorites.

A coworker recently commented that I must have a ton of great photographs of my family, especially my son growing up. I started to wonder if that was true. Did I really document my family the same way that I photographed assignments around the world or even in my own backyard?

Nikon FM2 shot on Kodak Plus-X. There was a time when my family would not run or cover their faces when I pulled out the camera.

If you ask my family I think they would say that I didn't photograph enough. I would counter that they just didn't always see the final results. This became apparent to me recently when I was digging under the eaves in search of some old darkroom equipment for a pinhole photography project and came across dozens of boxes and binders full of negatives and slides.

WARNING: Don't go digging out those old slides and negatives unless you have hours to spare, because once you start going down memory lane, it's a long journey.

I also tried to rationalize that when the family is talking about missing photos, most often they are referring to formal portraits. And it is true that at some point my family just wasn't going to sit for portraits as I tested new lighting or posing techniques. Plus, I figured that I always had an out since there was the school pictures that documented each year thus leaving me with the much more prestigious job of documenting everyday life.

Scotland Vacation in 2004 taken with a Nikon D2H. Found this file on a CD-ROM backup.

So looking back, how did I do?

Well for the answer to that question I'll refer to all those negatives and slides. Apparently I took more photos than I realized of my family and have taken great delight in converting them to digital and sharing, many for the first time. (Learn how I convert negatives and slides to digital files in my post, GRAB A LOUPE - A NEW YEAR WITH OLD NEGS). I also pulled out that collection of CD-ROMs that were at one time my digital backups, but over time and after some hard drive failures, had apparently become the primary files. Another word of caution, get those photos off those disks and back on hard drives with another copy in the cloud.

College Graduation in 2013 taken with a  Nikon D3S. One of two frames I was able to grab before I was told that was enough. Some things never change.

If your family is giving you grief about not photographing enough of... well the family, ask yourself if perhaps what they are really asking is to just see the results. I'm not talking about sharing what's on the back of your camera, handing them your cell phone or even what's plastered all over social media. I'm talking about making a print, putting it in a frame and hanging it on a wall or placing it on a table. Or if you are really ready to share, then why not upload your files to a service that will make 4x6 inch prints for under 15 cents each that you can then put in an album. Remember those.

That's what memories are made of. Or what memories can still be made of.

HIPSHOTS

STAIRWELL - Nikon 70-200 at 116mm, f3.2, 1/100, ISO 2000.

What are Hipshots? You know that unmistakable sound of the shutter releasing when the camera is no where near your eye; well that is what I am calling a Hipshot*.

This normally happens to me when I'm carrying two cameras and the one hanging over my shoulder knocks against my side, or Think Tank belt system, etc., causing the shutter to release and giving me a wonderful photograph of the ground beneath my feet.

OUTFIELD - Nikon 70-200 at 200mm, f2.8, 1/2500, ISO 400.

This isn't a new phenomenon, however a few months ago when downloading photos from a corporate kickball game a few of these Hipshots caught my eye. So instead of deleting them and moving on, I decided to save them to a folder and make a point of saving others from my assignments.

INFIELD - Nikon 70-200 at 190mm, f3.2, 1/2500, ISO 400.

I also started looking at them closely and thought they weren't half bad. Art? I'll let others be the judge of that.

Five tips on avoiding Hipshots:

1. Turn your camera off when not actively shooting.

2. Don't carry your camera over your shoulder, but instead leave it around your neck.

3. Use an across the chest strap such as one from BlackRapid to reduce the risk of the shutter knocking against your side since the top of the camera is facing down.

4. If you don't want to turn your camera off or carry it around your neck, be aware that it might occasionally go off without your knowledge. Could be embarrassing in some situations, especially if you are shooting in continuous high shutter mode. Nothing draws attention to you like firing six frames per second at the wrong time.

5. Ask yourself if you really want to avoid them? Don't sweat it and just accept the results. Modern painter and artist Bob Ross was famous for saying, "We don't make mistakes; we just have happy accidents".

PAVEMENT - Nikon 24-70 at 52mm, f2.8, 1/3200, ISO 200.

Don't be afraid to have a few "happy accidents" today and if you do, feel free to share them with me. And besides, I believe most of these photographs are as good as anything I see on Instagram.

*All the Hipshots in this post are shown just as they came out of the camera.

MY PHOTOS APPEARED WHERE?

Robolobster image from 2005 was published in: a. Field and Stream b. Bon Appetit c. Popular Science d. National Geographic (Answers provided at end of blog)

As a photographer for the Department of Navy's Office of Naval Research (ONR) I get to photograph some pretty cool technologies and over the past eight years many of my photographs have been published - some even hundreds of times. There is nothing particularly special about many of those photographs and in fact many of them would never find there way into my portfolio. That's not the point. If I am to be successful as a photographer with my current employer, than I must take consistent photographs that tell a story and do it again and again.

Most of my images are published by various Navy publications and defense trade publications and further released to the media for use in national and international stories. What might surprise you however, is were else these images are published. So with that in mind I thought it would be fun to post two of my more widely published photos, both taken in 2005 and see if you can guess where they were published. After that I'll offer my thoughts on why I think these images were published over and over and also offer some tips on increasing your chances of getting your photographs published too.

A photograph above showing two Robolobsters remains one of my most requested and published images. In fact if my images weren't in the public domain, I'm sure I could earn a nice yearly income from stock sales on this one image alone. The photo was taken in Nahant, Mass., at Northeastern University's Marine Science Center. I was given one day to fly to Boston, drive to Nahant and then return to Arlington, Va. And did I mention that I also needed to get an interview and shoot B-Roll.

Ultra APV images were published in: a. Rolling Stone b. Car and Driver c. Road and Track d. Military Vehicles Monthly

I photographed the Ultra Armored Patrol Vehicle at the Marine Corps Base in Quantico, Va., during a stop on my way to North Carolina's Outer Banks for another assignment. This ONR-funded project's goal was to develop a concept vehicle that illustrated design and technology options for increased survivability in future vehicles. I photographed this vehicle inside and out, and from every possible angle. The publication choose three to support a graphic.

I'll let you know the answers to the questions posed at the end of this blog, but first I promised you some tips.

Five tips to improve your chances of getting published:

1. Know how to caption: Ensuring you images have solid caption information is critical. Editors need to understand what is happening in the photo and the more details you can add, the more likely a photograph will make it to publication.

2. Know how to move imagery quickly: If your photos don't make it out of the camera, they can't be published. Timeliness also matters. One of the first things I think about when I'm given an assignment is how will I process the images and transmit them.

3. Know what metadata is and use it: This is similar to making sure you caption the images. If all the embedded information is there it will ensure that your images will be found when editors are doing searches. Remember that both these photos were shot in 2005 and because they can be found, they continue to be published over and over.

4. Do your research in advance: Before you take your first photograph, make sure you know what it is about the subject that makes it interesting or different. I knew when I was photographing Robolobster that it was different and unique already, but didn't have the same sense when I was photographing the Ultra APV, but that didn't stop me from taking plenty of photographs and asking key questions about what the developers thought was key.

5. Be the only one who has the image: Okay, I realize this is not always possible, but if I am the only one with permission to photograph something than the media has no choice but to use it, right? Well that is only partially true, because if the images suck, they still won't be used no matter how exclusive. I've seen publications use a graphic instead if we were not able to provide a quality photograph.

Don't be misled and think that every image has to be a portfolio image in order to make it to publication. Conversely, don't believe that just because an image has been published that it should go into your portfolio.

There will always be a place for quality photography despite all the talk lately about photographers being replaced by everyone with a cell phone. Remember that the cell phone is just another camera and there really is more to making a photograph then just clicking the shutter.

Answers to the quiz:

c. Robolobster appeared in National Geographic (sure it was the Japanese edition, but I'm taking it). My most recent request for this image a few months ago came from a Russian railway magazine. Still waiting for the clip from that one.

a. Ultra APV appeared in Rolling Stone Magazine.

TEN DAYS WITH THE FUJI X100S

A CF-104 Starfighter on display at the Canadian Warplane Heritage Museum in Hamilton, Ontario, shot at 1/1200, f8 at ISO 200 with 3-stop ND filter.

My first impression of the Fujifilm X100S was similar to when I first put my hands on the Fujifilm X10, it just felt right. While slightly larger and a tad heavier than the X10, the X100S has a very solid, almost bullet proof feel to it. The old school look and feel that first grabbed my attention when I saw the X10, is present here as well, only more so. In fact twice during the time I spent with this camera I was asked why I was still shooting film.

This blog post is about my impressions after spending 10 days with an X100S I rented from Borrow Lenses, and while ten days is barely enough time to learn all the ins and outs of any camera, already owning the X10 meant that many of the controls and settings were familiar to me. I did my best to shoot  a variety of photographs in different lighting conditions and try as many of the camera's features as possible. The photographs here did pass through Lightroom 4, but very little correction or cropping was done. If a photograph is black and white, it was shot that way.

Toronto, Ontario, skyline shot at 1/220, f16 at ISO 200.

Right up front the feature that really set this camera apart for me was the viewfinder. One thing that I always insisted on when purchasing compact or point and shoot style cameras was a viewfinder, or at least what passed as a viewfinder. It was comforting to know that I could hold the camera to my eye when shooting, but truth be told, most of the time I just ended up using the LCD screen to frame the shot. I also believe using the LCD and holding the camera at arms length doesn't give you the same perspective or provide you the same intimacy with the subject.

The "Bill Burton Fishing Pier" at Fort Smallwood Park in Maryland shot at 1/600, f8 at ISO 400.

All this has changed with the hybrid viewfinder on the X100S. In fact, this is one reason I think many photographers are calling this camera a DSLR replacement. You have two choices, an optical viewfinder or an electronic viewfinder. The optical viewfinder displays all the camera information along with a framing guide that is slightly smaller than your field of view allowing to see what is going on just outside the frame. The electronic viewfinder provides you with a through-the-lens view, that's right, I said a through-the-lens view, including white balance, depth of field and focus. There can be a slight lag in this mode and it will tax your battery, but to see what you are about to capture is an incredible feature.

Storm approaching small marina in Toronto shot at 1/1250, f2.8 at ISO 200.

What is really cool however is after clicking the shutter in either mode you will see the result right in the viewfinder without ever having to remove your eye. No more "chimping" using the LCD screen.

TIP: When using the optical viewfinder set the Corrected AF Frame feature to ON. This setting places a second focus frame in green within the display allowing you to correct for parallax inherent in rangefinders especially when shooting objects near to you.  

Entrance to the Royal Ontario Museum shot at 1/10, f5.6 at ISO 800.

All the dials and switches are minimal and have a solid feel. Aperture is controlled using a ring on the lens and shutter speed is controlled using a dial on top of the camera. Not a whole lot to it, you can set f-stop and shutter speed manually or by selecting "A" on either dial will place you in aperture or shutter priority mode quickly. Set them both to "A" and you are in program mode. Simple.

Gerrard Street East in Toronto, Ontario, shot at 1/40, f4 at ISO 1600.

Three focus options or modes are available using a slider located on the side of the camera. This placement makes it hard to inadvertently change settings, something that has happened to me several times on the X10. AF-S and AF-C are available, nothing new here, but the real upgrade is the manual focus and the fact that it is usable in a way that is very familiar. Imagine using a focus ring on the lens and imagine several ways to assist with focusing while never taking you eye away from the viewfinder. You have it with this camera. I didn't spend a lot of time in manual focus during the 10 days, but I did give a try and found it to be incredible fast and very intuitive. I used the digital split image mode which was familiar, but a new mode called focus peak highlight really allowed me to quickly lock in on focus.

TIP: If Focus Check is set to ON within the setup menu, rotating the focus ring on the lens causes the image in the viewfinder to magnify allowing for precise focus. 

Annapolis wedding party on the Maryland State Capitol steps shot at 1/2500, f5.6 at ISO 400, -1.33 EV.

This camera wants to shoot black and white photographs and the results are absolutely outstanding. I imagine this is what it is like shooting the Leica M Monochrome camera only at $6,500 (minus lens) less. There are actually 10 film simulation modes for both color and monochrome. For color, I stuck with the standard setting which mimics Fuji's Provia film, but for my black and white setting, I chose monochrome plus a yellow filter which I found to give me great results right out of the camera. Very little post production or color correction was needed regardless.

TIP: You have the option to set three custom configurations on this camera, so take one and set it to monochrome, then you can switch from color to B&W in seconds.

1/1250, f2.8 at ISO 800, -1.67 EV.

It's been said in other reviews, but this camera just screams for a lens hood as an included accessory. I found myself frustrated several times unable to take a photograph only to discover the lens cap was still on. I don't know why this seemed to be a problem more so with this camera, but adding a filter and lens hood would eliminate the need for a lens cap altogether and still provide protection.

TIP: Forget about purchasing the expensive lens hood from Fuji and go with the EzFoto 49mm black filter adapter ring and metal lens hood from Amazon for the best deal.

Quick portrait taken in a stairwell of the Marriott shot at 1/70, f5.6 at ISO 200.

I was able to get a full day of moderate shooting on one battery, but you will definitely need a second battery with this camera if you are doing some heavy shooting. After forgetting to charge overnight, my battery died early the next morning and like with my X10, there was little warning provided. I was spending lots of time in the menus and reviewing images which I'm sure contributed to battery drain, plus you can pick up a second NP-95 replacement battery for $10.00.

TIP: The battery will go in both the right way and wrong way with no noticeable resistance, so check that the camera turns on after inserting so that you are ready to shoot. BONUS TIP: Using the electronic viewfinder will cause the battery to drain faster.

My late Grandfather's Snap-on socket set shot at 1/25, f4.5 at ISO 200, macro setting.

You could set this camera up once and almost never need to dig into the menus again. But if you do, then Fuji provides an easy way to do that via a Q button which allows quick access to the most-used menu features. This is something that has been available on the X10 via a firmware update and it remains a great feature to reach the most used features. Plus you can also see this feature in the viewfinder. I'll say it again, you really don't have to remove your eye from the cameras viewfinder.

Charles W. Roesch, better known as Charlie the Butcher, at his restaurant in Williamsville, N.Y., shot at 1/50, f2.8 at ISO 800.

Don't make the mistake and think of this camera as a "point and shoot" or just a camera to throw in your bag in order to get slightly better photos than your phone. This is a serious camera fully capable of taking on most professional jobs. Zack Arias makes this point wonderfully in his Fuji X100S follow up review: life without DSLRs post.

It may take a little getting used to if you want to use the X100S as a street camera in order to quickly grab shots as you go and a couple of times it did take a few seconds too long to lock focus and exposure before I could shoot. Most of this was due to me not being ready along with some operator error. Otherwise, I don't really have any complaints. Spending more time shooting with this camera and less time fiddling with all the features, I'm confident that this would be the only camera I would need to carry 75% of the time. It would definitely be my second camera 100% of the time.

TIP: I think the best way to work with this camera would be to choose an ISO, film type and lock in a few of your other favorite settings, then forget about the camera and just shoot. If that sounds like the film days, you would be right.

It was hard to send this camera back. To say that I enjoyed shooting it would be an understatement so If you are still with me and wondering if the X100S will indeed replace my X10... More to come.

Link to my Flickr set of X100S photographs.

Link to the Fuji X100S manual.

UPDATE: 6/11/2013 - I ordered the Fujifilm X100S, EzFoto metal lens hood, B+W 49mm Clear UV Haze filter and a NP-95 replacement battery from Amazon.

UPDATE: 10/13/2013 - I've been shooting with this camera for two months and still loving it. Check out most recent posts to see how I've been using and incorporating the X100S into my photography.

INSPIRATION vs. INTIMIDATION

While some family and friends might provide honest feedback, at some point you will need to leave your comfort zone and seek professional critiques if you hope to grow.

As I was thinking about this blog post I came across a quote in Guy Kawasaki's book APE: Author, Publisher, Entrepreneur-How to Publish a Book. While Kawasaki is talking about writers, I easily substituted photographer and it wrapped up something that I have thought about often over the years.

"Don't let successful writers [photographers] awe you. ...it's OK for you to admire them for the quality of their writing [photography] or their success. However, don't let other authors [photographers] awe you, because this is the first step to envy and self-doubt."

The final two words, self-doubt, really struck home. I was never envious of other photographers, but I have struggled with self-doubt my entire career.

When I decided I wanted to be a professional photographer, I read books by well known photographers, attended National Press Photographers Association Short Courses, looked through magazines and newspapers, paying particular attention to the photo credits and then following those photographer's work.

You might wonder what is wrong with that? Probably nothing for some, however I compared every shot I took with the work I was following or being presented with at conferences and guess what? It didn't come close. While it didn't stop me from becoming a professional, I know that it kept me from becoming a better photographer earlier in my career. Mostly because I was reluctant to widely share my photography and slow to find [photography] mentors.

Look for inspiration: I encourage every photographer to go back and look at the work of those that came before or follow photographer's whose work that they enjoy. There is nothing wrong with that, just be careful not to compare yourself too closely with others, especially if it causes you to put down your camera in frustration. Remember that there is something to learn from both the past and present, but only you can take a photograph that is your vision.

Founder of the Air Force photojournalism program Ken Hackman, right, offers advice during the Visual Media Workshop in Arlington, Va.

Same thing goes when attending workshops, trade shows or conferences. These gatherings can truly offer some inspiration and provide you with ideas or techniques that will help you get better. Challenge yourself to not be overwhelmed and just enjoy the experience of being around lots of creative people. And if you do share, you might be surprised just how many others feel the same way you do.

Beware of intimidation: As you progress and become more confident as a photographer, you will want to share your work outside friends and family. Opening yourself up to that honest critique is hard, nobody wants to hear that they may not be as good as they think they are or that photo you are proudly hanging over the couch is not appreciated by others the same way you enjoy it. As hard as it can be to hear that truth, don't allow yourself to be intimidated by it. Seek out critiques from photographers whose work you admire and that you know will challenge you. Seek out lots of critiques because every one is different too. This how you will grow?

Shane McCoy, a photographer and videographer with the U.S. Marshals Service, provides a critique during the Visual Media Workshop.

I've had critiques early in my career that almost made me walk away from photography and I've had students who came to me in tears and were ready to change majors after receiving a particularly harsh critique. As an instructor it was my role to reassure, but also be honest. I offer that because there is nothing wrong with receiving a harsh critique if along with that you are offered constructive ideas on how to improve. Remember also that sometimes people can just be jerks. That happens and as hard as it is, move on. Sometimes it is because there is not an appreciation for what stage you are at.

I never stop trying to make a better photograph today then I did yesterday. Sometimes you are the only one that likes a particular shot and that is fine. Be proud of your work and don't let the fact that there are numerous "celebrity" photographers all over the web intimidate you or keep you from shooting. Again, if you like the photograph and want to hang it on the wall, then do that.

I recently attended the Visual Media Workshops DC Shootoff and one of the presenters, Lou Jones, who has been taking pictures for decades, looked out at the audience at the conclusion of his talk and said, "I consider every one of you my competition, and I welcome it."

That's a great attitude. Take the pictures that you want to take and realize that not everyone will like or appreciate them, but so what. Just keep shooting and sharing.