Wildflowers on Lake Buchanen
skydiving113
Wildflower blooms in South Texas.
teepee15702
barn master1295bw
cowboys1268
elephant_goose
Yard art from Gruene, Texas
Large wind chimes in Gruene, Texas
Untitled-3
DSC_3326
Cowboys
Downtown Dallas, Texas
model t101673
dino park101188
P6043490
Img0269
teepee_pano1b_w
Golf concept photo for scramble.
Massive Dunes
Wimberley, Texas Area-Cypress Creek and Pioneer Farms
NASCAR Legends
Grand Tetons
Bob Weinschenk CEO of Britestream
_DSC7240
Beverages
fireworks4959
snow monkeys
cruising24512
diva8831
_KMV0045
_KMV0068
Hurricanes
Fly Fishing the Guadsalupe River
new template
4 T UMAX     Power Look 2000  V2.0 [6]
Mormon Barn, Grand Tetons National Park

Latest

DRUNK ON SPRING

 

 

Every year I look forward to watching others get drunk. It is so funny to watch these drunks try to fly. Also the smell they give off is enough send all that are close to them into another world. Many of you must think I’m talking about good ole Billy Bob. Nope, I’m talking about Billy Bee and all the other insects and hummingbirds who fill themselves with the fruits of wildflowers.I love shooting wildflowers every spring. It amazes me each year how beautiful God fills so many fields with wildflowers. Even last year, the worst year I can remember in 40 years of shooting wildflowers, there were a few really beautiful fields. Some with flowers I had never seen before. Now that I’m teaching photo workshops, I love teaching wildflower workshops the most. Mainly because I also teach lighting techniques rarely and never seen before by most students. Each year my goal is to come away with at least just one jaw dropping, heart moving image. A photo that is unique and different.

 

In fact, because of the digital age in photography and our biological relationship to the photo, “Joe Public” has become harder to impress. Incredible and unique lighting along with great angles and compositions is required to have your photos stand above the rest. Fortunately, most people are lazy and will never bend their legs and will be satisfied with what the auto settings will give them. So shooting on manual and just bending your legs will separate you from the vast majority of the pack. Add getting up at the crack of dawn for the best light of the day and again you have out paced even more of the photographic pack. Go the extra mile and shoot stitched panoramas, light paint, strobe, etc. and again you have separated yourself as a photographer even more.

For those of you who may be interested in learning techniques that will take your skills to the next level, then check out my wildflower workshops for this weekend and next weekend at Canyon of the Eagles Resort (http://www.texasphotoworkshops.com/node/216). Hope to see your there.

 

Just a Photographer-

Conference High

For years photo conferences have been offered to those who could afford the time and money to go. In the beginning conferences were pretty small and had no vendors mixed in. Photography conferences have evolved to disneyland for photographers. Most have become the same old stuff and mostly veiled sales pitches. All these conferences do is get you “conference high” and then you spend all your money at their vendor tables.  However, there are also a few conferences which are the real deal. Photographers are empowered and encouraged. You will find few vendors at these conferences, because the seminars are not glorified sales pitches. In my opinion, there is one that stands above the rest. This conference is the one I will not miss every year. I have moved jobs to make sure not to miss it. The mix of speakers is always strategic and this year is no exception. The speakers are rarely super dudes that love to talk about how wonderful they are. Most share nuggets of info I usually spend the year applying to my business. Case in point, they have a photo business genius speaking, Brad Moore. Yeah, Brad Moore….who? Without knowing it, most photographers have been blessed by this man in their photography. We all know smart people usually hire smarter people to work for them and run things. Brad Moore manages Scott Kelby’s studio and is his number one. Sure having Scott speak would be entertaining and has been in the past. However, I’d rather have the lesser known brains of his operation sharing some bright gold nuggets. Hope to see you there…http://swpjc.org/

Wildflower Eyegasms

Soon wildflower season will be here and thanks to the wet fall the wildflowers in Central Texas are expected to really really nice! I’m looking forward to getting out and trying some new techniques that have been rolling around in my noodle. The one thing about wildflowers is everybody loves to shoot them…the same old way! Selling wildflower photos has gotten harder harder with all the competition out there willing to in some cases give them away for free. In response, I’ve noticed a few photographers have gotten really creative in the approaches which has inspired me to do the same. I think people are looking for fresh looks at fresh flowers. Really, even HDR has gotten way over used. Recently I was talking with one of my clients who is an art director at one of the national photography magazines and he was telling me he is done using heavily photoshopped and altered landscape photos. As he said, “They just are not real, a pack of photographic lies”. A little harsh, but somewhat true. Being creative is good and using manipulative techniques is fine, as long as you do not pass it off as real. Real being if one were to have been with you at the time, they would have seen what you captured in front of the lens themselves.

So, what can you do to stand out? Light is your paint. Use light in creative ways. I play with it all…flashlights, neon lights, strobes, moon light, foil, mirrors, etc. There is no real formula other than pushing the envelope, trying new things and failing a lot in between successes. Here are a few of my successes…

I used several types of flashlights for this shot. The trick is back and side lighting rather than front lighting.

I like using shadows in my photos, so I used a brushed mirror here to reflect the light into the flower.

This one I used a couple of strobes

This shot was fun. I back lit the flower with a couple of different flashlights and use a macro lens and shot the flower in a grid of eight shots and four panos stitched together. I’ll be leading a couple of wildflower expeditions in March so if your interested in learning some really cool techniques, check it out. The lodging and meals are included and we are staying at the Canyon of the Eagles Resort on Lake Buchanan in Texas, which is very cool in and of itself! Here is a link to SHOOTING TEXAS WILDFLOWERS.

Jackson Hole Workshop Part 3

Since I didn’t want to wear my students out to the point the would get sick, I decided to give them a break Wednesday morning to sleep in.  I took the liberty to go out to find some wildlife and scenic shots…found snow geese and elk.  Once again, Leslie fixed a fabulous breakfast then we buckled down to work on editing and post production/critiques. Before heading out that night, we feasted again on another delicious meal that Leslie had prepared for us.  One of the students jokingly called it our “food workshop” with photography on the side.

Soon we headed out to a beautiful spot with the Tetons in the background with authentic teepees on private property. I want to give special thanks to Ame and Lyle for allowing us to photograph their teepees.  I’d like to remind everyone out there, if you  plan to shoot on someone’s private land, please get permission from the owners before doing so, and please offer them some prints or images of what you shoot.  Too often, as we learned from Lyle and Ame, photographers in the past have either trespassed to take photos without permission or gotten permission, but never sent the photos they promised to send to the land owners.  After finishing what turned out to be an incredible shot, we all decided to take up a collection to give Lyle and his wife  a little bit of spending cash as a thank you for the use of their property that evening.

The next morning, we finished out the workshop light painting a half mile section of blazing yellow aspen trees lining both sides of the road with the Grand Teton at the end of the road. The only problem was the wildlife police thinking we were hunting deer with our flashlights and searching our cars. Hunting season had just opened that day, so it was a reasonable search. He thought we were just plain crazy and left shaking his head with his hand resting on his gun:) After final critiques and questions we all said so long around 3 pm.  I wish all my workshops were this fun with great people and incredible photo ops.

I’m now in Maroon Bells National Park outside of Aspen Colorado….OMG!!!!! I have never seen such incredible colors. I have got to host a fall colors workshop here next year!

Kevin Vandivier

Jackson Hole Workshop (part 2)

Ok, where were we when I left yesterday…oh yeah.  We just shot Ted the fly fisherman.  Later that evening, it was time to teach the students how to light paint.  So we headed over to the famous Mormon Barns for this. We arrived at the barns to find a herd of buffalo grazing right where we needed to be to capture our pictures.  For awhile, we all tried various ways to get the buffaloes to move along without putting ourselves I danger.  Just when I was about ready to give up and go to “Plan B” (I always have a Plan B), the buffalo again began to roam.  So we were free to plant our tripods where they needed to be to light paint one of America’s most famous barns.

Once again come Tuesday morning, we were up at 5 am in order to be in place for our morning light painting shot, which was a cool rock with an outcropping of aspens flaming with fall colors and the Grand Tetons in the background.  (Note to self and anyone else who may be reading this, remember to scout specific locations during the daytime, rather than trying to find one in pitch darkness.  LOL)    Once finished with the morning shoot, we all headed back to the Bar BC Ranch for breakfast.  Many thanks to Mary Jane for graciously allowing us to use the ranch facilities for our classroom sessions of the workshop.  My wife, Leslie, was gracious enough to provide a delicious homemade breakfast, after which we all nearly fell into a coma.  Tuesday evening,  we met David and Joe who kindly allowed us to photograph their goat and hog in the form of a Red ’68 GTO and Black Harley Davidson on the Jackson Town Square.  We light-painted and neon painted each one.  It was there that I introduced my new photo saber.   Let’s just say, Kevin drew a crowd of spectators as he performed his light painting dance around the goat and the hog.  Personally, I think the results are worth the price of being made fun of by so many.

Need to stop and get some gas, I’ll finish the rest of the story tomorrow. Kevin Vandivier

Wonderful Workshop in Jackson Hole

  As I drive through the western mountains of Wyoming, the trees are just exploding in color all around me—brilliant yellows, oranges and reds are highlighted against the evergreens.  I find my mind drifting back to this last week in the Grand Tetons, spending one of the best weeks of my life with four very talented emerging photographers.  For the past five days, I taught one of my favorite workshops called Masters of Lighting.  This workshop explores and teaches photographers how to use natural lighting combined with  single and multiple strobes, light painting, neon painting and creative white balance manipulation.  Jackson Hole in the Grand Tetons turned out to be the perfect spot for what I believe to be the  best workshop I’ve ever done.

 The workshop started Saturday night with a great social get-together as we all headed up the mountain in a real covered wagon  led by real cowboys who fed us a chuckwagon style bbq dinner and entertained us with fiddles and cowboy jokes.  It was a good time to get to know each other and enjoy the scenery.  Since the workshop didn’t start until noon on Sunday, I headed out early Sunday morning with a few of the students and photographed a juvenile   osprey in its high nest .  Come Sunday evening, we met up with Cowboy John at his stables and he patiently posed for all of us as we shot single and multiple strobe images of him. John was a quiet guy, a true cowboy who claimed that he doesn’t stay in one place very long.

Then come 5 am Monday morning, we all headed down toward the Snake River to photograph our young friend Ted, who is an avid fly-fisherman.  Since none of us has learned to walk on water, Ted was kind enough to carry our lights to the other side of the creek so they’d be positioned correctly.  Unfortunately our spot was a popular place to photograph the Grand Tetons, so we had quite a few photographers who tried to poach off of our lighting set up.  Thankyou Gene for policing the poachers for us!

 


Oh my gosh…just saw an awesome shot I need to go get.  More on this tomorrow…

Kevin Vandivier

STORY BEHIND THE PHOTO – “Goose-Stepping”

Years ago, as a brand new photojournalist who had graduated from the University of Texas, i was lucky and blessed to land a job at the Dallas Times Herald.  At the time, DTH was considered one of the top major newspapers in the nation.  DTH was in the midst of a roll in winning Pulitzer Prizes–all in photography!  The photographic staff was chock-full of incredible talent who all had “the eye of the tiger”.  Being the first photographer to ever be hired there directly out of college is an honor I cherish to this day, especially given the talent I was thrown in with and mentored by.  In many ways, I look back and consider my time at the Dallas TImes Herald Newspaper worthy of receiving a doctorate in photography (if there were such a thing). That’s how much I learned from my photo editor and fellow photojournalists.  As in any decent organization, the low man on the totem pole has to earn his way up, so me being the “new guy”, I was handed the chicken crap assignments and  expected to bring back gourmet chicken soup.  One thing I learned from shooting these kinds of assignments was “F8 AND BE THERE!”  Which I learned translates to “WHEN YOU’RE LUCKY, BE READY!”  These were wonderful days.  I think all photojournalists would agree that  the photojournalism age peaked  between 1980 and 1985.  Those were the days when newspaper editors valued photographers the most, and ironically, also when they enjoyed their largest profit margins in history.

One Saturday morning, amongst other lame assignments, there was one to go photograph the elephants being unloaded in downtown Dallas for the circus that was arriving in town.  Unlike the oldtimer who would have simply run over, grabbed a quick shot and run back to the newspaper office, I was still low man on the totem pole, so I was trying to prove myself.  I was quickly learning I was only as good as my last shot.  As I drove over to where the elephants would be staged, I agonized over how in the world I would be able to photograph this subject in a unique and different way from the way so many others had already photographed elephants. Upon arrival, I immediately began looking for something unique, but was disappointed to find nothing that would pull on the heartstrings such as a kid in a wheelchair or an elderly gent watching the elephants.  I tried every angle from jumping on tables to laying on the ground to get the shot.  Then I noticed that the elephant handler was not a toothless old guy, but an attractive woman.  So I thought, let me see if I can find a way to play off this beautiful blonde doing her job as an elephant handler.  So I followed her up and down, photographing her with a tight telephoto lense, getting lots of great, cutesy type shots.  Then I changed my lense to a 50.  Since I had been shooting with a telephoto previously, I’d only been seeing from the waist or chest up.  What can I say, I’m a guy!  When I switched to the 50 mil lense, and could see her full body, I noticed something I’d been missing when shooting tighter with the 85mm…that as she walked by every elephant, each one threw out his trunk and goosed her in the rear-end as though trying to grab a peanut.  So I dropped in behind her and photographed this beautiful blonde elephant handler being goosed by these “overly fresh” elephants.  To this day, I’ve wondered what caused the elephants to goose her–did she sit on some chewing gum or something?  This truly turned out to be a classic (and funny) lesson for me in “F8 AND BE THERE”.

Ultimately, the end result was the photo won numerous awards, the pat on the back from my photo editor and peers and it opened the door to receiving a dream assignment — spending a week on an aircraft carrier with fighter pilots.  To this day, this image has been published all over the world  and earned thousands of dollars in royalty fees.

Kevin Vandivier

Photo Newbies 102-Summer

About three times a year I teach Photo Newbies 101 and 102, separately at Texas Photo Workshops. This year I changed the number of students I allow in a class to four, sometimes six and it has made a huge difference in the quality of the workshop experience and education my students receive. Yes, I make less money with the smaller classes, but I’m much happier seeing photographers get what I’m trying to pass on to them. Recently I taught the summer class of PN102 which covers all the creative approaches I use and have learned throughout my career as a photographer. The class is designed to change the way photographer approaches shooting photos and seeing life around them in general. The main difference between a professional shooter and the work of emerging talent is consistency. Amateurs enjoy occasional happy accidents while professionals know how they got their great shots and can reproduce them on command 100% of the time. My students in this workshop start the class clueless about how to make a photo. By the time they leave, they see the photo before they push the shutter. This summer, we had a great time hitting historic Gruene, Texas and capturing some great shots. Once again the company was great. I wanted to share a few images students shot from this workshop…

Kevin Vandivier

FREEDOM PHOTOGRAPHY

Over the years I have found myself in a few countries where just walking around and shooting photos of whatever grabs you could land you in serious trouble. In fact, I once found myself thrown into jail for taking photos of something I should not have while on assignment in the Middle East. We in the U.S. are so lucky to shoot freely wherever we choose without worrying about going to jail…unless you live in North Cuba, also known as Miami.

Let’s talk about the importance of “free shooting”. In 1996 tragedy hit our family. My youngest son Ryan died in an accidental drowning. Many very dark days of grieving were greatly helped by simply heading out getting lost in free shooting. I discovered photography can be a good friend in tough times and good times. To this day I regularly just head out without an agenda and free shoot. The above shot came from a time of free shooting with some students in a workshop I taught. Without question, some of the best photos of my career have come from free shooting. It’s like treasure hunting. In my opinion, free shooting is an important exercise for those wanting to grow as a photographer.

While ponder what I’m writing, I recall free shooting was something done during my college days. Classes would end and my shutter would be capturing images every day. The last three years of college were pretty much classes and photography, sunrise to sunset. Free shooting started out as a way to take a break from those grueling and boring library study sessions. I’m pretty sure I did not have one date in those last three years. The end result were assignments with National Geographic World, Smithsonian Magazine, UPI, Houston Chronicle, Dallas Times Herald, Time Magazine, etc and that was all before I had graduated from college. Not trying to brag here, but rather wanting to point out free shooting was a passion that drove me to practice a lot and that led to great things. Repetition truly is the price of success!.

Kevin v

Part Of Me Is Getting Married Today!

Today the first of our children, my oldest son Shannon is getting married to a wonderful  wonderful gift from God! As I prepare to conduct the ceremony myself, I wonder where the time went? How fast it passed by. Seriously it seems I just blinked, boom he’s a man getting married. My relationship with Shannon has always been great. We have grown to be good friends as well. I feel so blessed. I remember foolishly telling my wife Leslie that I did not want any children. Fortunately God knows my heart better than I do! Upon Shannon’s arrival at his home birth, emotions I had never known began kicking in and from there on I told Leslie “lets have as many of these as God will let us have!” God gave us three more. I am sure Shannon will have as blessed a journey with his wife as I have with mine! Please enjoy a few photos down my memory lane!

 

 

 

 

 

Isaiah 62:5 “As a young man marries a young woman, so will your Builder marry you; as a bridegroom rejoices over his bride, so will your God rejoice over you.

Kevin v

I Love Fast Lenses

I love fast prime lenses! I’ve just returned from a week long assignment in Santa Monica, California. This place would be heaven on earth if were not for traffic from hell! The devil ruins everything. I love fast prime lenses! I spent the days shooting corporate photography and the evening shooting the oldest pier in the U.S., Santa Monica Pier. All the shots were hand held in low light level conditions at 100 ISO. I love fast prime lenses. The lead shot was shot with a 50MM 1.4 using the tungsten setting, underexposed in foggy conditions. Oh yes, for the record all the equipment used for these shots were Nikon….some a D3x and others a D2x:)

 

On another night I decided to take a walk at dusk to see what might present itself. Soon I came along three teen sisters in the middle of a swing off on the beach with the lit up Santa Monica Pier in the background. The top shot is with a 14mm 2.8 and the bottom is with an 85mm 1.4. I love fast prime lenses:) One more thing, I did shoot on fluorescent to help pump some magenta into the fading dusk light 1/60th @ F2.8/ 1/125th @ F1.4.

On my final evening, I used my 50mm F1.4 to capture the Ferris Wheel reflecting in the Pacific surf. I used a 180mm F2.8 to capture the right shot at sunset. After my week long love affair with the Santa Monica Pier, I moved on down the coast to spend a couple of days shooting on the Queen Mary parked at Long Beach, California. I’ll share those next blog.

Kevin v

DECISIVE MOMENTS

I look around at all the photography today heavily manipulated with software tricks and find myself a little sad. Not all, but most of the shots out there depend on software gimmicks to make mediocre images look better. As a photographer, it is key to your learning process to understand The Decisive Moment. “The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression.” – Henri Cartier-Bresson. Henri Cartier-Bresson was a French photographer considered to be the father of photojournalism, a the master of candid photography. He helped develop the “street photography” style that has greatly influenced several generations of photographers. The great sports photographers never relied on motor drives hoping to catch that key peak moment. They simply waited for it and then shot “the” image.

In the above photo, I had observed Calf Roping Champion, Stran Smith working with branding calves on his ranch and noticed that at one point he would let go of the calf with his right hand as he flipped them over to be castrated. I also saw that at this point the calves would just scream out for dear life. So, I stepped in, just at the right time and captured this image. Easy, right, yup, if you ca see the image in your minds eye before you shoot it. One of my favorite websites to visit is http://www.cretique.com/ They have some great article and collections of incredible photography. One of their collections is the best 50 “Decisive Moment” photos.

Still king in photography is content. Whatever it is you are shooting, ask yourself whether or not you have captured the key decisive moment. It’s not always obvious and there can be many decisive moments in any event. In a landscape photo, is it when the sun is setting throwing off “God Rays” just as it hits the horizon or is it after the sun has set when all the clouds light up with reds and oranges? What about a track foot race? is it when the winner grimacing crossed the the finish line with hands up in celebration or is it when a fan gives her an American flag which she wraps around her and begins to cry for joy? Photographers who get theses photos don’t do so by accident. They know the potential of what is going to happen before it does. I’ll never forget after covering the celebrations after a football game win and chimping in front of the coach when another shooter says ” Hey Vandivier, you better move you ass!” I thought the guy was being a jerk because I was in his way. Well immediately he lifts his camera as I and the head coach are completely covered in ice cold gatorade. I had forgotten to anticipate one more decisive moment:)

Kevin v

SHOOTING REAL ESTATE FOR REALTORS

Before we jump into this, I just wanted to let you know, this is not a “how to” blog, but rather my opinion about how best to work with realtors when hired by one.  As a professional photographer, you need to know about how wonderful most realtors are and how they tend to do business. Knowing this will probably keep you from losing or leaving thousands of dollars on the table…

I’ve been around and in the real estate business for quite some time. My wife has been a commercial/residential realtor for about 20 years as well. There are some really really great realtors who are true professionals and a joy to work with. That said, they probably represent a small percent of realtors out there. Based on my experience, most realtors have traditionally been very tough to work with. You need to understand that many realtors lack the understanding of how important high quality photographic assets are for their business. Many of them either choose to shoot their own photos or employ some “bozo idiot with a camera” who is willing to shoot their jobs for next to nothing. The good news is those bozo’s never are able to deliver quality work. The bad news is these poor realtors end up with photos that lack what it takes to grab a buyers attention and worse represents their marketing abilities and decisions as poor. This is were the professional photographer holds the answer…

I actually found the answer by accident. Naturally, I have for years shot my wifes photos for her listings:)))) Sometimes, I would get in a hurry  or lazy and just do the minimum amount of work to get the photos done for her. One day she comes back at me and asked that I reshoot one of her listings. Man was I offended! Does she not realize who she is married to? I’ve shot for Life Magazine, not to mention NGS. How dare she demand a reshoot…LOL. Before I could say a word she explained to me that she has been observing when I delivered great photos for her to use, her showings were much higher than when I gave her the same images those “bozo idiots with camera” deliver. SMACKDOWN!  She had humbled me! Funny how we see things much better from a humble perspective.

This got me thinking about the power we photographers have to offer to our realtor clients if we do our jobs right. After researching this further, I found the  data out there shows a direct correlation to great photography and sales. In fact, six months after starting work as the Photo Editor for Texas Highways Magazine, both the Editor and the Publishers came into my office, closed my door and proceeded to tell me that the Newstand  and  subscription sales for the mag were up at the same time. They also informed me it had never before happened in the history of the magazine and all their surveys pointed to what I had done with the photography (which was hire better photographers and run fewer photos bigger). I asked for a raise and they laughed at me as they left my office. Notice I no longer work there:) My point is thousands of properties are for sale by realtors and buyers are not going to read about every single one, they will scan their selection visually. A realtor has a nano second to grab a buyers attention to entice them in. That is what great photo assets do, grab the attention of buyers long enough to decide whether or not to explore further or visit the property in person. Thats the big fight realtors have, getting buyers to personally view their listings!

So, the first thing photographers need to do when bidding a job for a realtor is explain why the professional photos  you offer will not only catch the buyers eye, but draw them in to want to see their property. They also need to understand that sure, they can save a buck by choosing the “bozo idiot with a camera”, but current studies show that “Joe Public” has become a lot more sophisticated photographically because of the digital age. So, J.P. is no longer impressed by mediocre photography and is actually driven away by poor photography. Also helpful for realtors to know is the quality of the photos they use reflects on their marketing quality as a professional realtor to potential sellers. Today, in the digital photography age, everyone notices. I’ve had many of my friends come to me complaining about the photos their realtors were using. I always recommend the next time you interview a realtor to sell your home, require they hire a professional photographer of your choosing and put that in the listing contract!!! If you’re a Pro Shooter yourself, require they hire you. Remember, they are requiring you to hire and pay their rates. Part of what realtors are hired to do is provide what should be great photos that represent your property as best as possible for marketing purposes, why not hire you if you’re up to it.

Ok, now that you have educated them or at least tried, you need to understand what is really a fair market value. Now, when I shoot architectural photos for builders and architects, I tend to base my price off a day rate plus expenses only. In this economy, that is down from 5k per day to 3k per day. However, realtors are independent business people like photographers and can rarely afford to pay for a day rate shoot plus expenses. Although, they can afford to pay a decent rate. Realtors are one of the few professionals I’m willing to offer my hourly rate to, which currently is $400 per hour. The vast majority of jobs, I’m in and out within an hour. There are the jobs that do require more time, so I’ll offer a $50 discount per hour if they purchase 5 hours of time and a $100 discount if they buy 10 hours of time. What I want them to understand is that they are not buying photos, but rather my time to make photos for them. You will find many realtors who will not value what you bring to the table unless you educate and require them to do so financially.  I suppose that is true for anyone. Yup, most will promise to get back with you, never to be heard from again. Trust me, it’s ok, let them go, you do not want to do business with them! Oh yes, be sure to get paid up front. I’ve been stiffed by many smooth talking realtors. If they balk, don’t just walk away, RUN!!!

So you are probably asking where do you find the smart realtors? Most realtors are used to paying the “bozo idiots with a camera” $25-$75 and will never hire you. They also tend to need photographers the least because they have a tough time selling properties and they attract just a few buyers/sellers and then wonder why. Then there is a small group of realtors who seem to understand the importance of their photographic assets and are willing to pay for the best photos they can afford. I personally find those realtors by looking at their ads and listings. I also checkout their websites, etc. and when I find one who seems to get it, I introduce myself and my work to them and begin the courting process that will eventually open the door for me to impress them with great, uniquely styled photography and superior customer service.

Realtor’s I work with who are willing to pay my rates and treat me like a professional are like feather pillows, fresh coffee, dark chocolate, pure joy, etc. They are hard to find but well worth the search! I leave you with a smile on my face just thinking of them. In fact, I’m now heading out the door to shoot a job for one of them now.

Kevin v

DUMB LUCK

Shooting storms is an adrenaline rush! Years ago when Life Magazine was till around…for real, I would cover hurricanes for them. Nothing beats the thrill of shooting the awesome force of nature! The shot above was one of those dumb luck shots. There are a ton of lightening shots out there. People have become much more sophisticated when it comes to photography. What once was considered a rare great shot has become common. So, to impress others with a photo, that photo has to have something about it that raises it above the rest. After passing through a storm full of hail in Colorado, I pulled over and whipped out my 4×5 Zone 6 Wista to expose a few sheets of the film…yes real film, Fuji Velvia to exact. My exposures were 2-3 minutes. After a couple of shots, I was in the middle of exposing and this nice ranchers pulls up to offer us a hand thinking we have broken down. At the time I remember thinking the guy ruined this sheet. I walked back to my camera and ended the exposure a little early thinking it was blown. I almost did not even process it, but curiosity got the best of me. What you see was the results and has been my second best weather shot in stock and fine art sales. One sheet like this, ten others without the road illuminated….F8 and be there!

Kevin v

Shooting An Award Winner

I just recently found out this image placed second for “Conceptual Photographic Illustration” in the BEST OF PHOTOJOURNALISM 2011 COMPETITION. I’m always telling my students to shoot photos that are unique and different from what others shoot and you will stand above the crowd of millions! Here’s the deal, if you simply bend your knees when shooting any given subject, you will eliminate at lease 50% of your competition. If you climb a ladder, you can make that 75%. If you decide to do that and shoot in the sweet light of dawn or dusk, you can cut another 50% of your competition. Each time you add something that may require extra effort, typically you’ll eliminate more and more of your competition.

Add rare or unique content, shot with a unique angle and perhaps add unique lighting if called for and many times, not always, you’ll end up with a winner. Keep in mind though, nothing beats great content! Not cool lighting with the newest greatest modifier! Not geewiz Photoshop or HDR tricks! NOTHING!

I keep getting asked if I used HDR, or Photoshop to shoot this photo. Nope, one camera, one ladder, one magic arm, six flashlights and a few volunteer assistants, models, a gun and a friends Model T. Here’s how I shot the above image. First, I scouted the location previous to the shoot. Looked up on the internet when we would have a rising full moon. Arranged for the car, gun, land, models and assistants. Now in film days, I would have just made a 5 minute exposure. Since I was shooting digital and noise becomes an issue after 30 seconds, I shot a series of 30 second shots while my assistants used high powered incandescent flashlights to light the scene as i envisioned. Yes, the moon and clouds are real from this shoot.

Once all the shots are in the can, simply open them in each in Photoshop and stack them as layers. Pick the best all around image as your base layer and turn on each layer one at a time. You will need to either change the layer from normal to screen or just erase the pats of that layer you do not like with a feathered brush. I have found sometimes the screen layer works just fine, but other times it doesn’t quite work and just erasing is what you will need to do. Once you have completed all the layers you want, flatten the image.

Yes, this takes more time and effort than usual, but good things usually do. The applications for this lighting technique are limitless! If your interested in learning more about this technique, then check out a workshop I’m teaching call Masters of Light, at www.texasphotoworkshops.com Good Luck…

Kevin Vandivier

 

The Editing Room Floor

Before I had the honor to serve as Photo Editor at Texas Highways Magazine, when I would see a story I wish I had done or perhaps one of my peers had done, many times I would think to myself, Geez, what was he thinking? I could have done a better job than that! They should have hired me. I’m going to call that publication and let them know I’m available! Blah, Blah Blah! Then I landed the Photo Editor gig at Texas Highways Magazine and my eyes were opened. Not only is there only so much space to run photos, but to one degree or another, depending on the publication, the Photo Editors expertise is not valued and therefore ignored. So, others who have no business choosing photography for publication are over riding the decisions of their Photo Editors if they even have one, most of the time leaving the best images shot on the editing room floor. In truth, this has been a problem since magazines and newspapers decided to use photography.  Only a few publications give their Photo Editors the greater voice when it comes to photography. National Geographic being one of them. In fact, once they realized the power of their photo assets and hired a photographer to be there Editor in Chief. The magazine has flourished even greater since. Ok, let me climb down off my soap box and get to what I really want this blog to be about.

I just received my Texas Highways Magazine with my wife Leslie and I’s story on Glen Rose, Texas in it. I want to post the story as it was published followed by some of what was left on the editing room floor. I will be doing this from time to time so everyone can see and learn about the selection process. For the most part I’m pretty happy with what made the cut. That said, they did leave a couple of very strong images out that really should have been chosen. Of course I feel they missed the boat on the cover choice. I have a photo that would have increased their newsstand sales this month for sure! Another image would have also been a great choice for the back cover. Regardless, the story looks good, no embarrassing choices. See for yourself and let me know what you think or what you would have chosen…

 

 

 

 

What follows is what ended up on the editing room floor:)

The dino image would have been my cover choice…

The petrified wood building would have been my back cover choice given that GR is considered the petrified wood building capitol of the world…

 

How they passed on the old couple dancing on the shuffle board with the old coot smirking on is beyond me. That shot is a classic and a rare find.

 

 

 

 

 

 

 

 

 

 

As you can see a lot of great stuff was not used. I would love to hear your edit choices. Hopefully, this was an interesting exercise for you. Again, I think what was chosen was pretty good.

Kevin Vandivier

 

Horse Farts

Can you believe this horse farted and blew himself off the ground? Good, because that didn’t happen! If you did believe it, then LOL:) In all my years of shooting cowboys, I don’t think I’ve every captured a shot with the horse running with all fours off the ground. I actually got two shots last weekend teaching a workshop for Texas Photo Workshops. Feeling lucky, I did go out and buy a lotto ticket but something was lost in translation there.

Ok, enough of the lame jokes. I really wanted to write about what I consider one of the most important Photoshop adjustments that seems to be overlooked by most shooters…”Levels”. Most folks fail to set their black and white points, leaving their photos just a little off or flat. Here is what this shot looks like without the levels set properly…

As you can see, this version lacks the punch and saturation the top shot has. When you set your Levels correctly, you will rarely need to add any saturation, which destroys detail in a photo. Typically the same goes for contrast. Here is how I like to handle levels. It is different than most, but gleams from old wet lab skills and slide film exposure techniques from the good old days.

First, you need to understand where to find Levels. Know, because I have three in college and am paying for two weddings and a nice honeymoon for my three kids getting married this year, I’m still shooting with my D2x and using CS3. So, keep in mind these screen captures are from CS3. In this capture I’ve attempted to show you where you can find levels in Photoshop. If you use something else for your darkroom, you will need to figure out how to adjust your levels on your own. That said, PS has pretty much established themselves as a true darkroom. Everything else is like setting up your darkroom in your downstairs bathroom…which I did in high school.

Take note of the histogram in the box. See how there is a black slider on the left and a white slider on the right. You want to take the black slider and slide it to the left base of the histogram. This is setting the black points in your photo. The right slider is white and controls the white points in your photo. This slider is a little tricky to deal with. Most photographers just slide it over to the right base, only looking at the histogram and not the photo…

When you slide the white point, you have to watch your highlights in the photo. If not, you will experience blowout in your highlights. You can see to the left how the highlights in the dust is starting to blow out…

You will notice that I had to back off from the white point base to recover the detail in my highlights. This is how I shot slide film and this is how I shoot digital. The results are the same. You get maximum natural saturation and contrast that really help the photo pop. In terms of exposing, this usually results in an exposure of 1/2 stop to 1 stop underexposure. Here we have an exposure that is 3/4 of a stop under exposed. Now, I know many of you are scratching your head and wondering how to expose 1/2 stops and 1/4 stops when today’s cameras are set up for 1/3 stop movements. Well, one day I noticed I shot everything on manual and most things I focused on manual, including this shot and the sports I shoot. I asked myself why I needed a 5k Nikon 300 2.8 when I could buy one of the old manual Ai lenses for $750. You see, unlike the wonderful folks at Canon, Nikon did all its photographers a favor and left the mount for lenses alone so the old Ai lenses would also work with everything up to the current D3x. Plus I had complete control of my exposure in camera and the photos look sharper than the newer glass. I sold all my new lenses (over 10k worth) and replaced them with Ai prime glass for under 2k…sorry for the bunny trail. All that said, the gray slider will control the density of your photo. You will be tempted to lighten the photo with this slider. Don’t do it! Use this tool to control the highlights details and use the “Shadow/Highlight” tool to open the details in the shadows up a bit…not to much though, because this can give the that crappy and fake HDR look.

Here is where you can find the Shadow/Highlight tool…

Below is a screen shot of the settings I felt worked best for this shot. You also need to watch for creating a halo with this tool.

I hope this helps! This is an adjustment I use for all my raw files! When working for Texas Highways Magazine as their Photo Editor, I had many shots sent in from photographers that were great. If another shooter had sent in a similar shot and had performed their level adjustments, it stood out and their image was always the one selected for publication. This happened many times. Not long ago, I was asked to judge a wildlife contest called The Coastal Bend Wildlife Photo Contest. One of the other judges was award winning wildlife shooter, Sean Fitzgerald. We both just marveled at how many photographers neglected to set their levels. Shots that should have won were nixed because they simply neglected to set their levels at all. many times it was agonizing to see wonderful shots go for such a simple thing. Yet, that is the way it is at the top. Photos win and lose by the slightest margins.

Good Luck,

Kevin Vandivier

COWBOYS AND KANGAROOS

As we drive back to Austin this morning, I find myself taking mind pictures of the fields of yellow flowers and reflecting on what a great weekend spent with several talented photographers, cowboys and a kangaroo! This last weekend Pulitzer Prize winning photographer Skeeter Hagler and I had a blast showing photographers the ropes of shooting cowboys at the Blisswood Bed and Breakfast Ranch. Friday night started out with a group dinner of juicy ribeye steaks at Carol’s Cat Spring Restaurant. Later we moved our party to a beautiful gazebo on an island in a small lake at the ranch. As all enjoyed some wonderful port Skeeter and I prepared everyone for what was ahead for the weekend and shared a slideshow to the musical chorus of toads, crickets and owls coming from all around us.

Saturday morning started with Cade a pretty darn good cowboy, herding cattle at the break of dawn. Wow, what a beautiful sight. The sound of shutters pretty much matched there thunder of hooves pounding the ground, as Cade skillfully ran a herd of about 30 head anywhere we needed him…with the help of the ranches mascot of course, Scout a fine example of an Australian Shepherd. Once the light had become a little hard, we headed over to a chuck wagon parked close to an incredible log cabin, all under the canopy of several massive oak trees for a cowboy chuckwagon breakfast prepared by the most beautiful chuckwagon cook I have ever laid my eyes on! Yummmmm, fried egg, hashbrowns, bacon and skillet biscuits cooked over a campfire….cot please.

After spending some time at our meeting space, critiquing what the photographers had just shot, Skeeter and I showed a few Photoshop tricks we like to use. By lunchtime all were sent out to spend some time with their wives, husbands or cameras doing whatever they wished.

Later Saturday afternoon, a whole 1800′s era family and three cowboy re-enactors showed up, thanks to Skeeter. All the photographers spent the rest of the day shooting these models at the log cabin, shooting guns and a special session with a real kangaroo. Now that was an experience I think we will all be telling our grandchildren. After dinner, I set up a scene to light paint. We all spent the night, until 11 pm, light painting one cool shot….see to shot at top of blog. Yup, painted with flashlights!

Sunday morning, students took advantage of the beautiful sunrise, followed by another wonderful chuckwagon breakfast with pancakes this time.Later, we spent the rest of the morning in critiques and printing prints. After a very late lunch(sorry guys) everyone was released to spend the rest of day shooting on the ranch.

Below are some of the photos shot by a few students…

Not only did everyone get some great shots as you can see, they were all great people and very enjoyable to work with! I’m always amazed at how other people see some things I never would have seen or thought of shooting. Skeeter and I have decided to do this workshop again in the fall sometime. Check it out and other workshops at www.texasphotoworkshops.com.

Kevin Vandivier

The Gathering of Photographers

On Tuesday my good friend Skeeter Hagler and I hosted a Gathering of Photographers meeting in San Antonio, Texas. Skeeter had mentored me when I first graduated from college and now together we really enjoy mentoring others through these meetings we hold twice a year statewide. This last meeting was a little smaller than usual. We brought in Kelley Toombs, an award winning Graphic Designer and Art Director to speak to everyone about what he looks for when looking to high a photographer for a photo shoot. The two main points I heard were great work and being relational. He hates being stuck on a shoot with a photojerk, so he does what he can to make sure that not only does the photog have the talent, but will also be pleasant to work with. Kelley also pointed out that a portfolio should contain no more than 20 images and no less than 10. That said, he also made it clear to only show excellent work and if nine shots is all you have then don’t show one that will degrade your reputation as a photographer.

After Kelley’s Q&A we all spent time going through 2 minute slide shows and Kelley, Skeeter and I critiquing photographers work. For a group of non-professional photographers, we were all very impressed with the quality of work shown by some attending. It has really changed since the film days most for the amateur photographer. Without question those emerging as photographers today are delivering much better work than they used to, thanks to digital cameras and Photoshop. I still pick up photographic wisdom when Skeeter chimes in! I’m looking foreword to working with him this coming weekend. We both will be teaching at the same workshop in Cat Springs, Texas. I know there is still room in case any of you are interested. Its called the Blisswood Weekend Ranch Adventure.

Kevin Vandivier

Wednesday Workshop-Scrambling Eggs

Awhile back, one of my favorite clients, Jolly Design, called me to shoot a poster and ad for the Fedex Kinko’s Golf Tournament. The image above is the end result…after three dozen eggs were one by one scrambled across the fairway:) So, here is how it was done. First, the camera is setup on a tripod, a Gitzo in this case. My angle was such that my golfers feet did not show in the frame. The reason was to make sure room for copy was left for the designer working on the project. There were two key goals for the photo to work. First, I needed to make sure we had eggs and egg shell flying. Second, I wanted the club head to be recognizable, but showing movement. Some may see my problem here. I need a fast shutter speed to stop the action of flying eggs and also need a slow shutter speed to allow the golf club to have movement. That means 1/1000 for the eggs and 1/8 for the club. Thank God for digital cameras and tripods:) This would have been much tougher to achieve in film days. Since we had shot all the photos on a tripod, I was easily able to layer the photos I wanted to create the final photo in Photoshop. The eggs are represented by five separate egg shots. and the club is two, all layered and merged through layer screens and selective eraser tool use. Once the photo was completed, I felt the club head still needed a little more motion, so I added a little more with the motion blur tool under “Filters”. In the end, I did end up with some egg on my face, but my client was very happy, as was FedEx! For more free mini workshops head over to Texas Photo Workshops.

Monday Mania-Missing Hammerl

Unfortunately it has been confirmed that Photojournalist Anton Hammerl was killed somewhere in the remote deserts of Libya by government forces. I’ve been working as a photojournalist myself since the late 70′s and it just does not get any easier hearing when we have lost another photojournalist to war. It just breaks my heart!

In my younger days I thought I wanted to work as a war photographer. I had been heavily influenced by Robert Capa’s incredible  work starting from the Spanish Civil War and ending in the Vietman War, were he to was killed. I covered the conflict between Israel and Lebanon in the early 80′s for a summer. I learned quickly two things, one, I was not designed internally for covering war and second, war photographers are my hero’s!

Why “hero’s”? What drives the war photographer is not what many think it is. It’s a very deep passionate love for others that drives them to follow hell on earth. Someone had it right…”People do not kill people, governments do”! Which is why the war press and photojournalist are so needed. They keep everyone honest. In doing so, they too are warriors of “Freedom” and make life hard for evil people and their evil governments! I’m absolutely certain that this world would have long ago destroyed itself had it not been for the hard work and sacrifices made by the war press corps worldwide. For all those like Anton, who have lost their lives bringing us the truth of war, their work was not in vain, it is heroic and essential!

-kevinv

Monday Mania-Photo Newbies 101

What a great weekend hanging with some wonderful emerging talent at the PN101 workshop. I loved watching the lightbulb go off as these, new to photography, get the relationship between iso, shutter speeds and apertures. It never ceases to amaze me that so many who love photography never move past shooting on auto and never really learn how their camera works or how to prepare prints using the digital darkroom. They always wonder why their work looks the same while others seem to progress in their talents.

It was so refreshing to have a couple of truly dedicated students at this weekends workshop. Two of my students, Maxine and Judy, really showed some promising talent. After spending Saturday morning in the classroom both nailed their first assignments. After a late lunch we all headed to Wimberley, Texas for everyone to practice their new photographic knowledge. We found this cool western village that turned out to be photo op heaven. Meeting 83 year old Cowboy Jack was a true highlight!

Above are a few beautiful photos one of the workshop students shot this weekend. I really felt Judy has a great eye for design in her photos. She came to the workshop without a clue for how to shoot with her camera set on manual and when it was best to use certain settings like shutter priority or aperture priority. When she left, I could tell she loved being empowered to shoot her camera without depending on it choosing the right exposure, that in many cases only could get her close, but not quite there.

Maxine also has clear raw talent for seeing unique angles. I loved her photo of Cowboy Jack who had some great tall tales, like the alien body he used to keep in his museum. However, the museum was incredible! Workshops like this weekend with the students I had make teaching a real joy.

-Kevin V

llllll

WORKSHOP WEDNESDAY- Lighting the NASCAR Legends

Since I was a kid, I loved watching NASCAR races along with sprints and indy races. Since my mom hosted the first womans talk show in the nation on what is now the Fox Network in Houston, Texas, I had the privilege of meeting some of the great drivers, including AJ Foyt and Mario Andretti. When NASCAR asked me to shoot a series of portraits for them in the mid 90′s boy did I get excited. The above photo is the only one of its kind. It was the first time ever all these NASCAR Champions had been in the same room together and unfortunately proved to be the last since four of these men are probably now racing comets around the universe. Between them, they represented 50 Championships. The photo was ultimately published in NASCAR’s 50th anniversary book “Thunder In America”.

We had to shoot the photo at Bobby Allison’s Garage in Charlotte, North Carolina. I flew out a few days ahead of time to see what we could do. NASCAR is very particular about how things look and several of my ideas were shot down before they agreed to the above concept. My crew consisted of a four person catering crew, three photo assistants for lighting, two make up artist, a stylist and a film/Polaroid loader. Remember, it’s 1996, pre-digital, film only with Polaroid assist. The shoot was shot on 4×5, Medium Format and 35mm using Fuji Velvia and Kodachrome 25. I really really wanted these guys shot in their racing attire, but NASCAR refused to allow it because of so many contract issues with sponsors when they are dressed to race. I’ve included the second higher angle/loose shot for everyone to understand what I did to achieve the lead shot. I used 12 Dynalight heads with various modifiers and four synced 1200 watt packs to light everything…along with a few flags. I wanted to use obvious race car parts to throw iconic shadows on the wall and floor to help communicate who these guys are. Oops, for the record (Back row;Darrell Waltrip, Dale Earnhart, Lee Petty, Ned Jarrett, Richard Petty, Bobby Allison, David Pearson, Junior Johnson, Hershel McGriff. Front Row; Jack Ingram, Cale Yarborough, Larry Phillips, Jerry Cook.).

I would place the the car parts in front of a color gel head. I found I could adjust the size of the shadow with the distance between the part and the light. I knew that Richard Petty was coming so I made sure to set a place for him in the middle. You will notice I have a tire with spokes standing behind him with a red gel light casting it’s shadow up on the wall. The idea was to use is to symbolize a crown and have it fall around his head since he was considered the King of NASCAR Racing. The client loved it and the guys teased him quite a bit for it…all in fun. Once I had all the iconic shadows lit in place, I brought stand in’s into the set and lit them so when the real deal happened the next day we would be ready. Now, to light the various people, I used soft boxes, grids and snoots. I first lit most everything with the soft light of the soft boxes with the power set to a low fill level. I then brought in the grids and snoots to isolate  key light on each of the guys faces for dramatic effect.

The pressure was very intense. To boot, I had just lost my son to a tragic accident. the pressure was a killer on one hand, but on the other, I was a huge fan of these guys and had been since I was a kid, so it was also a bit healing. God was good to drop this shoot in my lap at the time He did! Bobby Allison was my liaison to all the guys and unfortunately he knew all to well what I was going through since he had lost two of his sons as well. He made sure the other guys knew the situation and they in turn gave me their full cooperation. Typically in shoots with this many chiefs, you have a couple who just want to make everything hard for you as a way to show off in front of their peers. Not this time! It was a dream shoot that worked like a dream!

Kevin Vandivier

WORKSHOP WEDNESDAY-Landscape Photography Tips

Working as the photo editor for Texas Highways Magazine, I must have looked at hundreds of thousands of landscape photos from many photographers. I found that a vast majority of the photos all looked the same, probably 90%. I was always amazed at how few photographers actually understood what it takes to shoot a first class landscape photo. That was all the magazine was willing to run. THM was used to winning awards for its use of excellent photography. A photographers only hope for having their work selected was to deliver superior work. Here are my top three tips I have to offer those wishing to shoot better landscape photos. These are not the typical exposure/composition tips.


TIP#1 Choose a new view! Most photographers shoot the same view everyone else shoots. Now, the common view might be the best view, but I always scout for new angles to give a familiar scene a new look. Sometimes just a few yards can make a difference.

TIP #2 Choose the best light. This is one of the major problems. Most of the landscape images sent to me at the magazine were shot between 8 A.M. and 4 P.M…also known as the worst light of the day.  These are the times a photographer should be scouting or napping. I once had a subscriber call me and accuse me of faking a photo of a mountain in Big Bend State Park I had shot and run on the magazine cover. He claimed the scene looked nothing like what he had seen. I asked when he was there…12 noon. I laughed and told the guy to get his butt out of bed at 5 am and be on location at dawn! At the very least a photographer should shoot 30 minutes before sundown and shoot through to about 30 minutes after sunset. The best light of the day is first light. It also happens to be the light very few photographers are willing to get up for. This alone eliminates about 98% of your competition.


TIP #3 Stay away from the boring blues. Landscapes need skyscapes. What I mean by this is to make sure to plan your landscapes during days that call for isolated thunderstorms or fronts moving through. I always make sure to plan my trips to coincide with bad weather. Nothing is more dramatic than beautiful landscapes with dramatic cloud structure lit up at sunset or sunrise. Cloudless skies are a dime a dozen!

I know these tips, followed will greatly increase the quality of your landscapes!

Kevin v

Corporate Location Shoots

This week I’ve been working with Dimensional Fund Advisors on a series of various styled portraits. This has been one of the best companies I’ve ever seen in my career and I’ve seen quite a few, including several Fortune 100 companies! It’s also great when you have an art director who loves pushing the envelope…thanks Rob! Shooting on location always has its challenges. I’ll share the photos from this shoot sometime in the future. One of the majors is shooting photos that don’t look like what everyone else is shooting! Corporate locations are famous for not having very many options for shooting unique photos. They tend to all look the same inside. One of the things I look for during the location selection phase of a shoot are graphic elements used as backgrounds. In the above image I shot from my knees to get an eye level perspective of my subject and used the window patterns in the background. To add interest, I dragged the shutter a bit while shaking the camera a little. I also set my CT to tungsten to shift the background to that deep blue. It works well, plus the client loved it!

Again here I played off the strong lines of the lobby window and again altered the color balance in the background for dramatic effect.

The one thing you do have to watch out for when leaning on graphic elements is where they may relate to your subject. Most important is to make sure your graphic elements do not cross through your subjects head. Most of the time the rest of the body is fair game. In this case I was able to get away with breaking that rule and have it work….very rare!

Another technique useful in these type of photos has to do with the choice of DOF. So, I’ll choose as low an aperture I can get away with. In this case I was at 2.8. It helps to throw the background out focus a bit to keep the graphics from making the photo too busy. Watch for shadows as well, because they can really help when using graphic elements in the background.

More and more, corporate culture is beginning to understand that photos are assets which will be their first impression to a potential client. As our society becomes more and more visually driven and influenced as they have these last few years, it has raised the bar and required professional photographers deliver stronger and stronger visuals. When I was the Photo Editor at Texas Highways Magazine my boss and his boss came into my office and closed the door. At first I thought I was in big trouble:) They proceeded to tell me that for the first time in the history of the magazine both news stand and subscription sales were up at the same time. All their surveys and research pointed to the changes I had made in the magazines approach to photography. I was able to increase my budget and threw 100% into freelance rates which allowed me to hire shooters who understood the importance of my point. The real proof of our commercial work as professional photographers is “does it grab the viewers attention and leave them wanting to know more?”.

Kevin v

Weekend Wildflower Workshop

This last weekend was one of the best weekends I’ve spent in a long time. I spent the weekend teaching five great and talented guys the way I approach shooting wildlflowers. It’s always nice to have a group that has no “whiners” or “know-it-alls”. It’s rare I get any of those types in my workshops, but it does happen. I spent the two weeks prior to the workshop driving all over central Texas looking for wildflowers. Unlike last years incredible show, this year was the worst I have ever seen it. I found only about three fields really worth anything and my fears were that the 100+ temps that have plagued us early this year would fry these fields pretty quickly. Then the rains came and all turned out just fine. Here are a few photos of this talented groups work…

Check out my workshops if you’re interested www.texasphotoworkshops.com. Have a great Easter weekend…He has risen!

Kevin v

DIGITAL APPLE JUICE

For sometime now I have been meaning to talk about a website that is a must for all photographers to have bookmarked. Digital Apple Juice is in part the brain child of Dr. Michael Roach along with a few of his former students. Dr. Roach without question used to be one of the top five photography instructors in the U.S. I’m not bragging, the accomplishments, awards and photography of many of his former students will back that claim up. A few years back he retired from Stephen F. Austin University after enduring decades of daily wars that probably made his multiple   Vietnam War tours seem like a picnic eating pieces of cake before a Sunday stroll. Now the world can gleam from this mans brilliance along with the team he has recruited. No offense to Scott Kelby, but just Dr Roaches basic tutorials on Photoshop blows away anything I have seen at Kelby Training or anywhere else for that matter.

If you need to know anything about Macs, I suggest you just go ahead and start here, because if you don’t, chances are you will end up here. Pretty much anything Apple or digital Imaging related can be found there. I now consider Digital Apple Juice pretty much my online photographic Swiss Army Knife.

One last thought and then I’ll give you the URL. Be sure to check out Robbie Lacombs article on Composite Art. If you have not seen her work, you are missing out on one of the best Photo Composite Artist in the world! I kid you not, some of her composites just turn me into a zombie. I can and have sat and looked at just one of her photos for an hour admiring it in part and trying to figure out what all the elements are…and I’m really good at finding Waldo! Ok here is the url…http://digitalapplejuice.com/ GO!

WORKSHOP WEDNESDAY- Shooting Fireworks

Since I was in high school I’ve enjoyed shooting fireworks displays/celebrations. Just about every year I try to get out and shoot different fireworks displays. I always like to look for the unique versions. In my opinion, the big brand fireworks shows with big city skylines all look the same. Last year I found this show and shot if from down on the bridge

This year I chose to climb this hill to gain a perspective that would include the bridge I shot from the year before. Wow, what an angle! You have the time exposed car lights stream through the frame, along with the boats on the water cruising and anchored watching the show. Of course the main thing is the fireworks display going of in the middle of all this. Off in the distance you can see the show for the city of Austin, Texas. This show is on Lake Austin sponsored by Austin Country Club.

Here’s how I shot this scene. It all starts with the angle. When shooting events where you get just once chance to get the shot, I always scout my angles out ahead of time. The day of the shoot, I arrive early to make sure I secure my preferred angle before anyone else does. In this case I was set up ready to shoot three hours before the show. I had my assistant hold the position while I went to this great Mexican food dive to grab some spicy food to go along with the show I was about to shoot. I still shoot with a Nikon D2x for one reason…four kids in college! Attached to my D2x was a Nikon 17-35mm 2.8 zoom. My camera was attached to a Gitzo tripod with the graphite legs and a Gitzo ball head. Using Nikon’s cable release I would shoot my exposures ranging from 30 seconds down to 5 seconds at F-8 up to F-16 always at ISO 100. The actual setting depends on the frequency of the fireworks burst along with the overall scene. One thing you need to watch for is burst frequency. At the start of the show, the bursts start out slow. At times they will increase in frequency of burst and then slow again. Always at the end there is the grand finale which if you’re not careful, you will overexpose your shots.

I like to use the aperture to control the over all scene with and I use the shutter speed to control the look of the fireworks with…shot burst and long trailing burst. My favorite exposure for fireworks is ISO 100, 15 seconds at F8 plus 2/3. Usually the trailing of the fireworks is just the way I like it, The 15 seconds allows for three burst and the illumination of the three burst is just right for just under F11. At least it has worked for this scene for the last two years.

One last thing to note, In Post you can curb the contrast levels by using a little Shadow/Contrast control in Photoshop. It’s also fun to play with the layering capabilities Bibble offers, which I prefer over both Aperture and Lightroom hands down!

I’ll be teaching a fireworks workshop on New Years Eve in Austin, Texas. For more info you can check it out at http://www.texasphotoworkshops.com.

Kevin v

ROYALTY FREE IS NOT FREE!

Yesterday one of my photo agents sent me an email with some very bad news. It seems The National Geographic Society has succumbed to greed and has changed it’s contracts with photographers to include a “royalty free” clause for themselves. In other words, when they hire a photographer to shoot any job, then those photos becomes theirs to use as they see fit, without any further payment to the photographer. Photographers, RTF is not free to you. It cost you lost revenue, it creates new expectations in the industry which does not favor the photographer and it sets the standard for the RTF photographer to be “Cheap”. I reallllllllly encourage all who read this to watch out for these rights grabs by greedy self serving businesses. Oh and beware of the red herring promise clauses to pay you even though they have the right to not pay you. LOL Do they think we are just plain stupid. Well, I guess I shouldn’t laugh since so many have proven that yes, there are a boat load of stupid photographers out there willing to completely ruin our industry…for what, 15 minutes of fame and 30 pieces of silver!

Kevin Vandivier

Lighting with Foursquare

Every year I attend the Southwestern Photojournalism Conference in Ft. Worth, Texas. Every year this conference recharges my batteries and inspires me. This years conference was incredible and will be the subject of a future writing. Today, I want to touch on last years conference when one of my all time favorite photographers spoke, Dave Black. Not only is the man an amazing photographer, he is a wonderful person with some pretty good wisdom. I’m hoping soon to write about Dave in this blog with his permission. Stay tuned for that.

Last year Dave introduced everyone to a cool little item called the Four Square. This little tool is very cool and a must have for those of you who like lighting with hand flashes. I traded my masses of Dynalights and packs in for Nikon Smartflashes a few years ago and never looked back. What FourSquare does is hold four flashes which is great for increasing your lighting output. Which comes in handy when shooting in the bright of the day. here’s a link and few more shots using this wonderful tool. Oh yeah, I don’t work or represent this company or gain anything for bragging it up. I just love well thought out and useful photographic tools. I rank this one up there with the Bogen’s Magic Arm! Here’s the link…http://www.lightwaredirect.com/ …and a few more photos…

 

Just for the record, you can learn how to shoot using these lighting packages in my Masters of Light Workshop and the Art of Telling Stories Workshop at  http://www.texasphotoworkshops.com

Wednesday Workshops-Time Exposure Portraits

I have several very hard working interns and when I can I like to set up a photo shoot as a private workshop for them to say thanks for their hard work! So, recently we made arrangements with a carnival company to shoot on one of their Ferris wheels. Since my seventy something mom is the craziest actress I know, I asked her to be our model. As you can see, she came up with a great outfit and some scary make-up.

My favorite portrait lighting style is something I call Time Exposure Portraits. Basically, this is where we light our subjects using a moving background, usually with artificial commercial lighting and drag the shutter so the background exposure is properly exposed. In this case, we will use the Ferris wheels movement as our background. The Ferris wheel basket we had also had a center poll mounted roof. Perfect! This will be a great place for me to mount my Nikon SB-800’s set on remote from. Using a couple of Manfrotto Majic Arms with Super Clamps on one end and a flash shoe mount on the other, I hung my lights on each side of the basket. They were placed slightly in front of my subject, pointing at her and locked down with diffusers.

I waited until dusk to start shooting and we shot through dusk to complete darkness. Since the lights were so close to the subject, we only needed about 25% power. Using the SU 800 Commander on my camera, I dialed down the flashes. I was also shooting with a Nikon D2x and a 17-35mm 2.8 zoom. The iso was set at 100. My f stop was F11 and when we started, the shutter was dragging at 1/10 of a sec and at complete darkness the shutter drag ended up at 4 seconds. Oh yeah, one last thing…I had the shutter set to go off at the end of the shutter, which is called a rear curtain sync. This means the shutter opened first and at the very end, just before the shutter closed, the flashed triggered. I also hand held the camera.

One little backend story… When I recruited my mom for the shoot, I had only told her we would be shooting at a carnival. When we got in the Ferris wheel basket for the first time, I could tell she was upset with me. Since there were interns with use, she was quiet, but her eyes said “Your Dead when I get through with you”. I think we all have moms with that look. When the operated cranked up the wheel and we jerked to a roll, my moms eyes almost popped out of her head and she screamed in complete terror. She then explained to us she had a sever fear of heights and had never been on a Ferris wheel before. So, the fear looks are not all acting on her part. As you can see, the shoot was a huge success and we all got some very funny photos…at my moms expense! Thanks Mom, now I know you really do love me. I’ll make it up to you on Mothers Day. I have a sky diving shoot I’d like to use you on:) Don’t forget to checkout my workshops at http://www.texasphotoworkshops.com…Maybe we can use your mom on a workshop shoot.

http://www.manfrotto.com/

http://www.nikonusa.com/

http://www.thomascarnival.com/

http://www.kevinv.com/

Kevin Vandivier

PERSONAL PROJECTS

Bhutanese refugee John Monger immigrated from Nepal to the U.S. through the U.N. in 9/2009 after spending years being persecuted, imprisoned and tortured for his faith in Jesus Christ.

I’m a big believer in personal projects for photographers. The main reason for this is it keeps the creative juices flowing. Many of my personal projects have also turned into actual assignments. For example, I just found out a Magazine called Christianity Today wants to buy my photos for a story they are doing on refugees in the U.S. This has been a project I’ve been shooting on for about three years now.

Here’s what I do starting a project. First I must have a personal interest in the subject. Regardless of how popular the subject might be, if my heart is not in it, then neither will my commitment to do what it takes to complete the project. That way, you will be shooting for yourself and not others. Whatever you like, go for it.

Like all communication, the more you can address the who, what, when, why and where questions, the better. So, as you prepare for starting to shoot, think about how to visually communicate the message of the story.

If your project is about some natural beauty like mountains, then you may want to first decide which mountains you want to shoot and from what angle. I like to shoot subjects many others have done before me in ways few before me have done. Most mountains are shot in clear sky conditions. So, first I’ll wait for a day with clouds that will give me some dramatic sky structure. Then I decide the time of day. If most shoot at dawn, then I’ll shoot at dusk. If most shoot at dusk, then I’ll shoot at dawn, etc. In short shoot them in a unique and different way than others have.

If your project is about people or a person, then your approach will be different than when just collecting a series of beautiful shots. You will want to actually tell a story with photos. You’ll want to shoot your subject loose and wide to show their surrounding environment. You’ll also want to shoot closer to isolate your subject but still leave a sense of their environment. Finally you’ll want to shoot your subject up close to provide details that reveal intimate info for the viewer.

All this takes time, but if you stick with it, you will in the end collect some great shots and continue to grow as a photographer. My workshop “The Art of Telling Stories” is a great workshop to take for learning and sharpening these skills. As an award winning former photo editor for Texas Highways Magazine, I’m just the person you want teaching you these skills. Here’s a link in case your interested…http://www.texasphotoworkshops.com/node/222

Below are a few more photos from the Monger Project.

Kevin v

John Monger preaching a sermon in his east Austin apartment to other refugees.

One of the refugee matriarchs listens in as others are talking away. I later found out she is 106 years old…WOW!

The story for CT focused on John Monger, a refugee from Bhutan via Nepal. Here Monger helps deliver food to other refugees from many other nations in East Austin.

(Left) Monger looks over the food delivered to his apartment by Light in the Dark Ministries, a local non-profit. (Center) John prays over a 106 year old woman after she confessed her belief in Jesus Christ. (Right) Monger preaches barefooted during one of his church services he holds in his apartment.

 

Wednesday Workshops-Using Flashes

In the not to distant past, I taught what is my favorite workshop to teach, “Masters Of Light”. I won’t make some cheap pitch here for the workshop, but here is the url to my workshops in case your interested… www.texasphotoworkshops.com. I wanted to teach my students how to think wildly out of the box. My neighbor is Willie Nelson’s Golf Pro and he looks like he could be wild, but in fact he is gentle as they come. Well, unless you really piss him off and from what I’ve seen that is pretty hard to do. Anyway, I recruited Jeff to be our “Bad Ass Harley Model”. However, rather than shoot the typical location static portrait, I wanted my students to learn how to shoot action portraits using remote lighting. First I demonstrated the shoot with my Nikon D2X (yes, I’m a bit behind on updating my equipment. It’s called having too many children in college at the same time:). I also used the Nikon SB800’s. I mounted my camera on the back gate of my SUV using a Bogan majic arm. The Nikon master SB800 was attached to my camera’s hot shoe, but the flash itself was in the off mode. I also attached another SB800 to the frame of the Harley using a Bogan Super Clamp. I’ve also connected the camera to my computer so I could control everything remotely from the front seat. I’ve left the flash in the shot so everyone can see its placement. For publication, I’ve photoshoped it out. From here, we took off and cruised 6th street in Austin, Texas. Jeff followed with his cig hanging from his lips. Oh yes, I also dragged the shutter for one second. Dragging means to set the flash to trigger at the end of the shutter setting and in this case it was one second. My aperture was around F 8 and the iso was set at 100. My zoom was set at 24mm. As we cruised, sometimes we would hit small bumps and the camera would bounce a little, adding to the unique wild look of the photo. Now that’s how you shoot a “wow” portrait. Again, this is my favorite class to teach at Texas Photo Workshops ( http://texasphotoworkshops.com).

Kevin v

COVERING HURRICANES

When I was young and dumber, I would go and shoot things like war in the middle east, erupting volcanoes, tornadoes and hurricanes. One of my wildest rides was covering Hurricane Gilbert which landed a cover and double truck for Life Magazine. With spring upon us, hurricane season is just around the corner. I thought I would take the time to share what I have learned from covering many hurricanes in the past. First, there are two sides to a hurricane. The WET north/east side and the DRY west/south side. The wet side is were all the dangerous action is…tornadoes, 30 foot storm surges, 150mph sustained winds, etc. Here is the big question, who can shoot in that? I’ve been there, you are surviving and fighting for your life. Photography loses it’s appeal during those moments, not to mention camera’s don’t work well wet. I learned the hard way that the dry side of a hurricane is less dangerous and you can shoot dramatic photos during the hurricane without being in the worst part of the hurricane. Once the worst has past you are usually about an hour away from the wet side and arrive about the time other photojournalist have come out of their zombie states the hurricane beat them into. I have literally followed the waters edge of a storm surge as it recedes into the heart of the destruction where you can find more unique and dramatic photos. You just have to watch out for the snakes, alligators and power lines.  The shot I got for the cover was on the dry edge of Hurricane Gilbert. Then photojournalist Doug Milner and I drove decided to drive into the middle of this monster to get better photos and ended up holding on for dear life and got no photos during the storm. We did get some great aftermath shots…which did not make the cover.

Kevin v

TP&W Cover Out takes


I felt like it would benefit all if I also posted here many of the photos submitted for the request so you can see what kind of variety was sent. Along with the cover, the magazine also selected another version of the photo used as a full page photo inside the story. For this photo, I shot with the white balance set for daylight and used a warming gel on the flashes. However, I positioned the one light at about the 340 degree mark. The photo had a completely different look, even though it was basically the same shot published for the cover. This is one reason why I usually always change my lighting package up when shooting assignments. It many times will lead to more sales. The magazine also used the cover for their online edition and in the end hundreds of dollars was sent to my mail box. Below are a few more shots submitted…

As I mentioned before, I teach this stuff in my workshop called Masters of Light, which is without question one of the best lighting workshops offered. Here is a link…http://www.texasphotoworkshops.com/node/212 I also teach many of my lighting techniques on our expeditions. The next one up is Glen Rose, Texas and it will be an amazing workshop. Here is a link to that one as well…http://www.texasphotoworkshops.com/node/222

Kevin v

Texas Parks and Wildlife Cover

One of my favorite things in this world is mailbox photography money! Recently, one of the magazines we submit stock images to upon their request is a wonderful little pub called Texas Parks & Wildlife Magazine. The love to use images big and the design of the magazine is really nice. In February, they wisely chose the above image which was originally shot for National Geographic Adventure Magazine. A lighting package I’ve used since the mid 90’s that Joe McNally made himself famous for was chosen for this shoot.

 

To start with, my camera white balance was set on tungsten. Some of you are asking why would a photographer do that when shooting outside? Isn’t tungsten used for indoors? Normally yes! However, the color temperature reaction is a heavy shift blue. Add underexposing a stop and you end up with what you see in the background. This part of the river is pretty shallow with deep channels running through it so my Nikon flashes were attached to stands and placed in the river with us. Since my camera was set for tungsten light, a CT Orange conversion gel was needed to convert the daylight balanced light coming from the flash to a tungsten balance so the flashes light photographed white.

 

Finally, one flash was used to light the subject and it was placed about the 140 degree mark. For me, that scrapping light/angle of incidence is what I was going for, which helped illuminate the fly line whipping in the air as it is being cast. So, with the shutter, I controlled the exposure of the background and with the aperture I controlled the exposure of the flash. This is called dragging the shutter. At 100 ISO, I shot at 1/3 of a second @ F 5.6.

 

Ansel Adams always talked about seeing the image first in your minds eye and then shooting it. Most of us know that shooting the image is only half the job. Superior darkroom skills also are required to finalize the photo as you saw it originally in your minds eye! That said, for this image, the photo needed very little darkroom work. The sky was burned down a little to achieve that rich looking blue. You can learn more about my lighting techniques via my photography workshops or one on one mentoring programs.

Kevin v

WHAT DEFINES A “PRO” PHOTOGRAPHER?

For years and in college I was taught the definition of a “pro photographer” was when one starts to get paid for shooting photos. Perhaps in some ways this could be considered true. However, when a photographer claims to be a “Pro”, that photographer is communicating that he can be trusted to shoot the same quality work he presents in his portfolio or website!!! The photographer that can do this 99% of the time is a true “PRO PHOTOGRAPHER” and is qualified to claim so.

The problem is this, I and many true pro photographers I know through the years and especially these days are having to come behind these “wanna be pros” and clean up their messes. It damages the reputation of our industry and people begin to think “well hell, I can just do this myself if this is what pro work is”!

Personally, I would like to see the photography industry adopt the same system plumbers use. If you are serious about becoming a professional photographer, but have not established you skill set consistently, then you need to call your self an Apprentice Photographer. Once you have establishes your skill set to be able to consistently deliver the same work quality in your portfolio and on your website and say have done so successfully for multiple clients over year or two’s time, then you should call yourself a “Pro Photographer”. Before that day, do yourself and the industry a favor and let your clients know you are still establishing your skill set as a photographer.

Just my two cents worth. Let me know what you think!

Kevin Vandivier

Shooting Unique

This last summer I scouted the Tetons for a workshop I would later lead there. I decided to get up early and shoot the Mormon Barns in the park the day after landing in Jackson Hole. Arriving while it was still dark I found one other photographer who had beat me there, nabbing the best angle of course. Since, like most of us, I’ve seen millions of images of this barn over the years, I wanted to find an angle at least rarely shot. Deep in a hole my angle was found. First the 4×5 field view camera was set up and then my trusty Nikon.

Soon there was ten photographers around me, but birds could still be heard chirping. Then 20, 25, 30 35…at least I had my unique hole angle…whatever. It now sounded more like a packed Starbucks than a national park before sunrise! Then the peak dawn arrived and a gaggle of voices was replaced with a array of shutters. I simply felt cheap! I had built a very successful career on always shooting the unique angle or approach. Truthfully, I still even haven’t bothered processing the 4×5 film yet.

After spending the last day scouting my workshop, I landed hard in my bed a bit depressed, still haunted by what was experienced at the barns. Then it hit me…What about light painting the barns? I was out of that bed like a 17 year old teen. Though it was darkening, I still had time to make it. Long story short, the shot above is the end result. I left the mountains pleased and soon the photo caught the attention of those at Rangefinder Magazine. Rangefinder was intrigued about how I shot it and asked I write an article. One other note, as an email promo, my site traffic increased the most from all my other email promos. Unique approaches and angles is what everyone is looking for, not the same old shots! Below are the rest of the photos from the shoot with different looks.

Kevin v

Same shoot style at dusk.

Just before sunrise

At Sunrise with no light painting.

Follow

Get every new post delivered to your Inbox.

Join 112 other followers