tag:blogger.com,1999:blog-77889285247495753722023-11-15T06:14:31.018-08:00Paul Sears PhotographyPaul Sears is a Los Angeles, CA based photographer, creating decorative and artistic photography based on authentic real-world experience.Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-7788928524749575372.post-24486752629469254312010-03-19T18:12:00.001-07:002010-03-19T18:12:09.327-07:00Wilshire Blvd Church<div style="float: right; margin-left: 10px; margin-bottom: 10px;"><a href="http://www.flickr.com/photos/paulsearsphotography/3909899076/" title="photo sharing"><img src="http://farm3.static.flickr.com/2441/3909899076_b0f09bcf85_m.jpg" alt="" style="border: solid 2px #000000;" /></a><br /><span style="font-size: 0.9em; margin-top: 0px;"><a href="http://www.flickr.com/photos/paulsearsphotography/3909899076/">Church off of Wilshire Blvd</a><br />Originally uploaded by <a href="http://www.flickr.com/people/paulsearsphotography/">Paul Sears Photography</a></span></div>Happy Photo Friday! Can't remember the name of this church off the top of my head - it's somewhere off of Wilshire Blvd and Western, in Los Angeles. I really enjoy shooting urban photography with my 12-24mm wide angle lens - since it's not necessarily a top of the line lens (Sigma) it gets some distortion and vignetting (which I actually kind of like). Click through the photo for more details on Flickr.<br /><br />Have a great weekend!<br /><br />--Paul<br clear="all" />Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-156473420605800602010-03-12T08:04:00.001-08:002010-03-12T08:04:53.409-08:00F-Line Street Car<div style="float: right; margin-left: 10px; margin-bottom: 10px;"><a href="http://www.flickr.com/photos/paulsearsphotography/3858629085/" title="photo sharing"><img src="http://farm3.static.flickr.com/2587/3858629085_ccdb82a3de_m.jpg" alt="" style="border: solid 2px #000000;" /></a><br /><span style="font-size: 0.9em; margin-top: 0px;"><a href="http://www.flickr.com/photos/paulsearsphotography/3858629085/">F-Line Street Car</a><br />Originally uploaded by <a href="http://www.flickr.com/people/paulsearsphotography/">Paul Sears Photography</a></span></div>Happy Photo Friday everyone. This is a shot of an F-Line streetcar from my last trip to San Francisco. Click through the photo for more. Have a great weekend!<br /><br />--Paul<br clear="all" />Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-69545352768898924182010-02-20T11:27:00.001-08:002010-02-20T11:28:14.130-08:00Photo Friday!<div style="float: right; margin-left: 10px; margin-bottom: 10px;"><a href="http://www.flickr.com/photos/paulsearsphotography/3914510322/" title="photo sharing"><img src="http://farm4.static.flickr.com/3498/3914510322_4b1e3206de_m.jpg" alt="" style="border: solid 2px #000000;" /></a><br /><span style="font-size: 0.9em; margin-top: 0px;"><a href="http://www.flickr.com/photos/paulsearsphotography/3914510322/">Mailbox</a><br />Originally uploaded by <a href="http://www.flickr.com/people/paulsearsphotography/">Paul Sears Photography</a></span></div>Well, I'm trying to get back to keeping up with Photo Fridays more regularly, even though I've been working 70 hour weeks lately. At least photography relaxes me and takes my mind off the office a little bit. <br /><br />Click through the photo to read more on Flickr. Enjoy and have a great weekend!<br /><br />--Paul<br clear="all" />Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-45826099862447663652009-08-15T10:45:00.000-07:002009-08-17T09:53:17.301-07:00Agency Head Shots<CENTER><a href="http://www.flickr.com/photos/26381574@N04/3799082833/" title="Agency Headshots Day 1 by Paul Sears Photography, on Flickr"><img src="http://farm3.static.flickr.com/2590/3799082833_db0a10518d.jpg" width="350" height="159" alt="Agency Headshots Day 1" /></a></CENTER><br /><br />Recently I was asked by my boss to take some headshots of the staff. He has a vision in mind - showing "the face of the agency" in a creative way. So the gimmick was to strike a creative pose holding some sort of stuffed animal or toy.<br /><br />I've been looking to get more people in my portfolio, and I need all the practice I can get with lighting. So I jumped at the chance. Using my co-workers as guinea pigs actually works out pretty good. They can't get too mad at me for anything, because we still have to work together the next day.<br /><br />Nikon has the Creative Lighting System (CLS), where your camera body talks to multiple off-camera flashes wirelessly using infra-red. The on-camera flash is the "Commander" - telling the off-camera flashes what to do. It syncs the flashes to go at the same time, and allows you to control the intensity, using TTL (Through-The-Lens light metering). The camera measures the light through the lens and factors in the shutter speed, the aperture, the ISO - then calculates everything to tell the flashes what to do. In the camera's menu you can select which flashes should fire more or less brightly. A very powerful system, which takes some getting used to, but can really open up new creative avenues. Check out this <a href="http://www.amazon.com/Nikon-School-presents-Creative-Lighting/dp/B001KJ91V4/ref=sr_1_1?ie=UTF8&s=software&qid=1250360007&sr=8-1"> <u>DVD</u></a> for all the nerdly details.<br /><br />In the "let's be creative" spirit of the shoot, I used strong side-lighting rather than a more than a more traditional portrait approach. It added some nice highlights and accents, for a more interesting shot. I used one white shoot-through umbrella and one bounce-umbrella. The third flash was positioned low, and used a snoot to focus the beam. The white-umbrella was the main light. The bounce-umbrella was there to help control shadows on the opposite side. And the back-glow light helped control shadows on the wall.<br /><br />Since the flashes only pop when you click the shutter, it takes a little bit of testing to get the lighting just right before you start. So a stand-in is needed to do some testing (interns, get over here!). <br /><br />The next trick is getting your subject to give you a natural smile. Another reason using co-workers works well. You can gather everyone around and the group dynamic helps get some good laughs. Then, just click-click-click until you get some good takes. Here's how they came out:<br /><br /><br /><CENTER><a href="http://www.paulsearsphotography.com"> <img src="http://i289.photobucket.com/albums/ll238/mcgrobb/Combo6-Shot_350x292.jpg" width="380" height="317" alt="food shots"></a></CENTER><br /><br /><br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Follow Paul Sears Photography on <a href="http://www.twitter.com/paulsearsphoto"> <u>Twitter</u></a>, or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com1tag:blogger.com,1999:blog-7788928524749575372.post-64520504246981242512009-07-13T08:42:00.000-07:002009-07-12T15:41:02.105-07:00Setting Up A Home Photo StudioI just finished my first venture into food photography, as part of the <a href="http://www.strobist.com"> <u>Strobist</u></a> Boot Camp assignments.<br /><br /><CENTER><a href="http://www.paulsearsphotography.com"> <img src="http://i289.photobucket.com/albums/ll238/mcgrobb/FoodShotsforBlog.jpg" width="390" height="87" alt="food shots"></a></CENTER><br /><br />I shot my entries in my home studio. So I thought it would be interesting to write about what goes into getting a studio set up. <br /><br /><CENTER><a href="http://www.paulsearsphotography.com"> <img src="http://i289.photobucket.com/albums/ll238/mcgrobb/Studio.jpg" width="300" height ="225" alt="Home Studio"></a></CENTER><br /><br />Most people probably think of me as a "nature guy" mostly. But, I am starting to branch out more. Product, people, food, etc. We moved recently, and we got a 2-bedroom specifically with the intent of setting up a home studio in the 2nd bedroom. It's definitely great to have an extra room dedicated to photography. But really, this same setup could work anywhere there is a little extra space.<br /><br />At any rate, here's a brief list of what anyone looking to set up a home studio will need:<br /><br /><b>- Space:</b> At a minimum, enough for a background, a table and a tripod. Depending on the lens you want to use, you may need more or less space. In a small space, a good wider-angle lens can help you work closer to your subject. If you have more space, a longer lens can be used. Or if you're doing macro or like small product to sell on Ebay or Etsy, there are complete studio-in-a-box kits such as <a href="http://www.amazon.com/Sunpak-620-EBOX-Portable-Mini-Studio/dp/B000JC3NOY/ref=sr_1_2?ie=UTF8&s=electronics&qid=1247416529&sr=1-2"> <u>this one</u></a>. However, you will probably need additional lighting (see below).<br /><br /><b>- A Table:</b> If you want to shoot product, food, etc. However, if portraits or head shots are your thing, then maybe you just need a stool for your subject to sit on.<br /><br /><b>- Background(s):</b> Bigger camera stores, such as <a href="http://www.samys.com"> <u>Samy's Camera</u></a>, sell and rent backgrounds. Since styles change all the time, I recommend keeping it simple. Buy a roll of white seamless and a roll of black or gray seamless. A 4.5 foot-wide roll is in the $30-$40 range and lasts a long time if you take care of it. Then, if you're doing a portrait shoot and you need a more stylish, textured muslin background, just rent it (because they sell for $100 and up). That way you're not getting locked into a style that may go obsolete before you break even.<br /><br /><b>- Background Support:</b> Something has to hold up the roll, right? A couple of different ways to approach this. At my old place, I mounted brackets on the wall, ran a big dowel through the middle of the roll, and hung it up that way. At my new place, I wanted a more flexible approach, so I bought a Portable Background Stand. Basically two light stands with a variable-length crossbar, so you can change the height and width, as well as disassemble the whole thing and take it with you anytime. About $150-$200, or there are certainly higher-end options as well (ones that let you hang more than one roll at a time).<br /><br /><b>- Lighting:</b> When I first started shooting studio-style about a year ago, I was surprised by how much light was needed to get a good shot. Way more light needed than I had anticipated when I first got started. But it doesn't have to break the bank. You can see from the shot above, I use a combination of lighting. I use a mix of static (always-on) lighting, as well as Strobes (aka Speedlights) (aka off-camera flashes). For the static lighting, it's just two cheap floor lamps from IKEA with 150 watt CFL light bulbs. The "Blue" CFL bulbs (called day-glow or something like that) give off a similar color of light as the flashes. There is an awesome blog called <a href="http://www.strobist.com"> <u>Strobist</u></a> dedicated to using flashes - I highly recommend checking out the Lighting 101 section if you are just getting started.<br /><br /><b>- Lighting Support:</b> Again, something has to hold up the lighting right? Light Stands can be picked up at just about any camera store. I found some light-duty stands for about $35 each at Samy's Camera. Perfect for in-home use, and they have a very small "footprint" in terms of taking up floor space. Heavier-duty light stands can be $75 and up. But if you plan to take them outdoors or need additional height or load-bearing strength, it may be worth it.<br /><br /><b>- Diffusers:</b> A flash or a 150-watt CFL by themselves are very harsh and will lead to a lot of nasty shadows. In the picture above, you can see I use a combination of things. Shoot-through umbrellas are available at many camera stores, and help soften the light of a flash. I also use "diffusion domes," which are inexpensive white plastic caps for the end of a flash, which helps soften the light. The flash in the lower-left corner of the picture above has a "snoot," which focuses the light into a tight beam. For all of this stuff - definitely check out Lighting 101 on Strobist - very helpful!<br /><br /><b>- A Tripod:</b> Of course. I mean, I suppose you could try to shoot hand-held in the studio. But let's say you get that shot exactly how you want it, except your exposure was just a hair off and you need to do another click. If you're shooting hand-held, good luck getting the exact same composition again. On a tripod, it's guaranteed to be the exact same composition you just had. Just tweak a couple of settings and click. Because in the studio, composition is an arduous process, a tripod is (in my opinion) an absolute must.<br /><br />That's about everything I think. No doubt, it's a long list of stuff. And honestly, it took me months to build it all up. But the great thing about all this gear is it's designed to last a very long time if you take care of it. So with every piece you pick-up, your studio just gets better and better.<br /><br /><br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-2646758864229686352009-06-30T19:13:00.000-07:002009-07-01T15:55:57.908-07:00July Facebook Fan GiveawayThanks everyone for being fans of <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445?ref=ts#/pages/Paul-Sears-Photography/14204326445?ref=mf"> <u>Paul Sears Photography on Facebook</u></a>! I wanted to try a fun giveaway to say thanks for being part of the community and helping me spread the word. If it goes OK, I’ll definitely do more in the future.<br /><br />So here goes….<br /><br />This July, one lucky fan will win a free <b>11x14 Matted Print</b> of their choosing. The contest is open to anyone who is a Paul Sears Photography Facebook Fan, regardless of when you became a fan. <br /> <br />It’s super easy to enter. Just help me spread the word by hitting the “Share” button, which will post the Paul Sears Photography Facebook Page to your news feed. Then write on the Paul Sears Photography Facebook Page's Wall to let me know you’ve “shared." <b>Note:</b> letting me know on the Wall is pretty much the only way I would know you did it, plus making it public keeps it fair for everyone. <br /><br />All month long, I’ll keep track of everyone who posts on the Wall to let me know they've shared the Page. Then on 8/1/09 I’ll do a random drawing to select a winner. The drawing will be done as a YouTube video (so you know it's legit, right?). I'll post the video on the Page Monday 8/3/09, so everyone can see who won. The winner gets a free 11x14 Matted Print of their choosing, free shipping, totally free. <br /><br />Even better – if you share two times during the month, just write on the Wall both times, and you’ll have two entries. Three shares, three Wall posts, three entries, and so on. Up to 5 entries max per person. Just remember to let me know on the Wall, so I can count your share toward the contest. And please, play nice. And don’t try to fake me out; that’s not cool. <br /><br />The winner can chose any image on <a href="http://www.paulsearsphotography.com"> <u>www.paulsearsphotography.com</u></a> that is available as a <i><b>“16x20 Mat with 11x14 Print”</b></i> or <i><b>"20x16 Mat with 14x11 Print"</b></i> as of 8/1/09. The <i>“Buy This Item”</i> link next to any image shows which sizes are available for that image. The 11x14 Print will be professionally matted with a 16x20 white acid-free gallery mat, and assembled with 100% acid free archival materials. In other words, designed to last a lifetime. More info on sizes is also available on the <a href="http://www.paulsearsphotography.com/?goto=print-sizes"> <u>Print Sizes</u></a> and <a href="http://www.paulsearsphotography.com/?goto=matting-options"> <u>Matting Options</u></a> pages of the site.<br /><br />Please feel free to give me a shout with any questions. Thanks again for your support! <br /><br />--PaulPaul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-21650898678728861732009-06-24T11:39:00.000-07:002009-06-25T10:11:03.948-07:00Another Totally Unbiased Review - AF-S NIKKOR 24-70mm f/2.8G EDI know, I know... I need to blog more often. But jeez louise, between <a href="http://www.twitter.com/paulsearsphoto"> <u>Twitter</u></a>, <a href="http://www.facebook.com/home.php#/pages/Paul-Sears-Photography/14204326445?ref=ts"> <u>Facebook</u></a>, <a href="http://www.myspace.com/paulsearsphotography"> <u>Myspace</u></a>, <a href="http://www.flickr.com/photos/26381574@N04/"> <u>Flickr</u></a> and lord only knows what else, it's hard to keep up! Let alone actually getting out to go shoot once in a while...<br><br>BUT - I digress. I want to post yet another totally unbiased review on a recently acquired piece of Nikon Gear. The <b>AF-S NIKKOR 24-70mm f/2.8G ED.</b><br><br><CENTER><a href="http://www.nikonusa.com/Find-Your-Nikon/Product/Camera-Lenses/2164/AF-S-NIKKOR-24-70mm-f%252F2.8G-ED.html"> <img src="http://i289.photobucket.com/albums/ll238/mcgrobb/353_2164_AF-S-NIKKOR-24-70mm-f-2_8-.jpg" width="353" height="300" alt="AF-S NIKKOR 24-70mm f/2.8G ED"></a></CENTER><br><br>Needless to say the <a href="http://www.samys.com"> <u>Samy's Camera</u></a> rep's eyes lit up when I walked in asking for a D700 and this lens. It was short-lived, however, because I'm a tough customer and a good negotiator. I left smiling, and the poor rep probably got in trouble with his boss....<br><br>OK, about the lens. Bottom line, this is by far the most expensive lens I've ever owned. But it is by far the best. When I was shopping and reading reviews, I almost went for the less expensive AF-S DX Zoom-NIKKOR 18-70mm f/3.5-4.5G IF-ED. However, after reading lengthy reviews on <a href="http://www.kenrockwell.com/nikon/1870.htm"> <u>Ken Rockwell</u></a> suggesting it might not be worth the $900 pricetag, I had only one choice left. Go big or go home.<br><br>This lens is amazingly sharp at any focal length and any aperture. Color is exceptional, especially coupled with the D700. It produces a beautiful creamy bokeh when shooting wide open at f/2.8, and it also has a nice medium aperture at 5.6-8. It stops all the way down to f/22. The construction is extremely rugged - large and weighty. Impresses your friends, but also lets you know you can count on it for the long haul. At the same time, it's small and light enough to carry around the city or on a hike. (I don't recommend bringing it to a party however, unless you really want to feel like papparazzi the whole time).<br><br>Technically speaking, this lens is best in class of what Nikon has on the market now. The large "N" symbol on the outside of the lens refers to Nikon's Nano Crystal Coat process, on an internal glass element, which helps cut down on lens flare and ghosting. Two Extra-low Dispersion (ED) elements and PGM aspherical lenses control chromatic aberrations while enhancing sharpness and contrast. And this has to be the quietest SWM auto-focus motor I've ever seen.<br><br>Any gripes? Yes. A couple minor ones. 1) The hood for this lens is SO big that I never use it. But, pretty minimal lens flare so far, shooting without the hood. 2) You do get a small amount of vignetting at 24mm, using a screw-on filter. So I just keep it in mind when composing, and crop it off after. Easy.<br><br>Overall, 9 thumbs up for this lens. Between this lens and the D700 body, my confidence in the field has dramatically increased. Well worth the price. <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Follow Paul Sears Photography on <a href="http://www.twitter.com/paulsearsphoto"> <b><u>Twitter</u></b></a>.<br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>.Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-81359865630747009182009-05-27T07:49:00.000-07:002009-05-27T08:39:47.884-07:00Nikon Lenses - FX vs. DXNikon makes two categories of lenses for DSLRs - FX format and DX format. <br><br>The lens format is tied to the sensor format in the camera body. The FX sensor is full-frame, meaning the sensor itself is physically the same size as a frame of 35mm film (36mm wide x 23.9mm high). The FX sensor is built into the D3, D3X, and D700. The DX sensor is smaller in size (23.6mm wide x 15.8mm high), and comes in the smaller DSLR's: D300, D90, D80, D70, D60, D40. <br><br>The image coming through the lens must fit precisely onto the sensor, so that what you see in the viewfinder directly translates to what you see in the photo. Thus, the FX lenses are designed to project a larger image onto the larger FX sensor, while the DX lenses project a smaller image onto the smaller DX sensor. The glass is different so that the image you see in the viewfinder is configured larger or smaller when it hits the camera body. Probably the easiest way to tell an FX lens from a DX lens (aside from the fact it's labeled on the lens) is to turn the lens around and look at the rear element of the lens; the FX has larger glass in the rear, while the DX has smaller glass in the rear.<br><br>Nikon does offer flexibility, however. If you use an FX camera such as the D3, D3X, or D700 you can still use both FX and DX lenses. If you use an FX lens, you get the full-frame image at the full resolution the camera offers. If you use a DX lens, the camera will automatically crop the image to account for the smaller image being projected onto the sensor. You also get a reduction in resolution. This is because the image being projected onto the sensor from the lens, is actually smaller than the sensor itself. Basically the camera adjusts for the fact that the outer edges of the sensor are not receiving any light/image from the lens. Net takeaway - if you have an FX camera, you can use both types, but you lose resolution with a DX. So it makes more sense to use an FX lens.<br><br>On the other hand, if you're using one of the DX format cameras listed above, you can also use both FX and DX lenses, but with different results. If you use a DX lens, the image will be normal - normal size and normal resolution. If you use an FX lens, you still get the image you see in your viewfinder, but the focal length of the lens is magnified by 1.5x. So if you set the lens to 100mm, your image is actually 150mm focal distance. You will still get the exact image you see in the viewfinder, because the magnification happens through the lens, and thus through the viewfinder. This actually is a good thing, if you're hoping to extend your range for wildlife or sports. But it can be a bad thing, if you're trying to shoot wide-angle. For example, an 18mm focal length would effectively become 27mm because of the magnification factor. Bottom line - for a DX camera, you can use either format at full resolution. An FX lens helps with longer shots due to the magnification, but can hurt when it comes to wide-angle.<br><br>Perhaps the best comparison/explanation I've ever seen is embedded below. Big props to <a href="http://www.youtube.com/user/Lilkiwiguy87"> <u>Lilkiwiguy87</u></a> for taking the time and trouble to put this together. While I can't necessarily vouch for the musical selection, I must say the video was very helpful as I was researching between the D300 vs. D700, and accompanying lenses. <br><br><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/u2_iRW9qpRw&hl=en&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/u2_iRW9qpRw&hl=en&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object> <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com4tag:blogger.com,1999:blog-7788928524749575372.post-47684908776191900952009-05-14T08:26:00.000-07:002009-05-14T10:12:28.208-07:00Nikon D700 - Totally Unbiased ReviewI have finally upgraded to a "real" pro level camera body. The Nikon D700.<br><br> <a href="http://www.paulsearsphotography.com"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 385px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/nikon-d700-top.jpg" border="0" alt="" /></a> <br><br>So, how's it going so far? <br><br>Well, I've been on two multi-day shooting trips, and shot a friend's band at a local gig, with the D700 since I got it. And to be perfectly honest, after a couple thousand clicks, I have to say...I just don't know if there are words to express how I feel about this camera. <br><br>I mean, I could use the word LOVE, but it would be a ridiculous understatement. Maybe if I wrote LOVE in a giant font it might come close. This camera is fantastic. Beyond fantastic. I've never been happier. <br><br>OK, I better leave it at that, just in case the Mrs. reads this. At least for now, the D700 still sleeps on the couch.<br><br>When I was shopping, I was considering the D300, which runs about $1500-$2000 for the body. However, once I started looking closer at the D700, the choice became clear. The D700 is a little more, priced at about $2500-$3000. I pulled out the ol' haggling tactics and actually got mine for less, at Samy's Camera here in Culver City, CA. <br><br>Yes it's more, but what you get for that increase is well worth the price:<br><br>- 12.1 Mgpx FX Full-Frame CMOS sensor (same sensor as the D3)<br>- EXPEED 14-bit RAW processing (same processor as the D3)<br>- ISO up to 25,600 (same as the D3)<br>- 3" 920,000 dot VGA color monitor (same as the D3)<br>- 51-point AF matrix (same as the D3)<br>- Active D-Lighting, Sensor Cleaning, 5+fps (same as the D3)<br><br>Do I sound like a broken record yet? Intentionally so....this camera is basically 80% (or more) of the D3 for like 50% of the price. And in some areas, it actually outperforms the D3. <br><br>Let me break it down this way. Here are a few reasons why I'm head over heels in love:<br /><table width="200" border="0" cellspacing="1" cellpadding="1" align="Center"><br /><tr><br /><td><a href="http://www.paulsearsphotography.com/?goto=rustic&img=3"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/200w_Bixby.jpg" border="0" width="200" height="133" alt="the gradients of greens and blues are much more like what the eye sees, due to the D700's increased color gamut"></a></td><br /><td><a href="http://www.paulsearsphotography.com/?goto=nature&img=1"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/200w_BlueGreenLizard.jpg" border="0" width="200" height="255" alt="the D700 has a great ability to capture a wide range of contrast"></a></td></tr><br /><tr><br /><td><a href="http://www.paulsearsphotography.com/?goto=nature&img=17"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/200w_DeadCholla.jpg" border="0" width="200" height="255" alt="the color and clarity are amazing"></a></td><br /><td><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/200w_GoldenGate.jpg" border="0" width="200" height="133" alt="the D700 has the ability to capture highlights in the foreground while preserving detail in the background"></a></td></tr><br /><tr><br /><td><a href="http://www.paulsearsphotography.com/?goto=nature&img=4"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/200w_SunsetRocks.jpg" border="0" width="200" height="133" alt="the D700 can capture detail and color, even in low light and backlight situations"></a></td><br /><td><a href="http://www.paulsearsphotography.com/?goto=rustic&img=19"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/200w_Stairway.jpg" border="0" width="200" height="255" alt="the level of detail and the balance of light-dark is amazing"> </a></td><br /><br /> </tr><br /></table>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com1tag:blogger.com,1999:blog-7788928524749575372.post-81882401567882462842009-03-02T21:21:00.000-08:002009-03-02T21:53:48.349-08:00Nikkor 70-300mm VR AF-S f/4.5-5.6G IF-EDYes, I know, that's a lot of acronyms. And I'll admit I've typed them all out any number of times since this past Friday, when I picked up this awesome new lens. Well worth the price, it replaces/upgrades my 55-200mm less which was part of the kit when I first bought my D80. Let me say again, this lens is awesome! <br><br> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.paulsearsphotography.com"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 353px; height: 300px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/353_2161_AF-S-VR-Zoom-NIKKOR-70-300.jpg" border="0" alt="" /></a> <br><br> First of all, it reaches 300mm (compared to 200mm I had before). Second, it's an FX-format lens, so it will work with the D700 camera body I'm planning to purchase soon. Third, it's so much more robust than the 55-200 lens - not just bigger/heavier, but better quality optics and better VR (Vibration Reduction). And of course, because I'm still shooting with a D80 (which is DX format), I actually get a magnification factor of 1.5x. Meaning its max reach is effectively 450mm. <br><br> But that's not all. Until now, for long shots like ball games or wildlife, I was shooting 200mm with a 2x teleconverter (aka the poor man's telephoto). But the downside of the teleconverter outweighed the extra reach. 1) You lose 2 stops worth of light. 2) You can't use AF, so you're trying to eyeball precise focus on something a hundred yards away. I can't even count the number of images I've discarded due to softness around the edges, because I was off by less than 1-degree on the manual focus ring. <br><br> Alas! No more! My reach is effectively increased, with no loss of light, better optics, and the ability to use AF. Baseball Spring Training here I come! <br><br> And last but not least, for the acronym nerds among us, here's the breakdown: <br><br>- 70-300mm = Focal Range of the Lens<br>- VR = Vibration Reduction <br>- AF-S = Autofocus w/ Silent Wave Motor <br>- f/4.5-5.6 = The Lens' Maximum Aperture (Variable)<br>- G = Aperture Settings Controlled Internally<br>- IF = Internal Focusing <br>- ED = Extra Low Dispersion Glass<br><br>For more on what any of this gobbledygook actually MEANS, read more <a href="http://www.bythom.com/lensacronyms.htm"> <u>here</u>.</a> <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com3tag:blogger.com,1999:blog-7788928524749575372.post-43085029840536188762009-02-22T15:25:00.001-08:002009-02-22T15:34:22.379-08:00Nikon D700I think I've finally settled on my 12MP upgrade. The Nikon D700. <br><br> <a href="http://www.paulsearsphotography.com"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 385px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/nikon-d700-top.jpg" border="0" alt="" /></a> <br><br>Either a full-frame version of the D300, or a more portable version of the D3 - both are accurate statements about this camera. Performace-wise it's within inches of the $5,000+ Nikon D3, for about half the price. It also takes pretty much everything that's good about the more affordable D300 and takes it up a notch. At $2,499-$2,999 depending on where you buy, this is a full-featured pro-level 12MP camera at a good price. More to come!<br /><br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-60034333935452732882009-02-18T07:20:00.000-08:002009-02-18T07:35:32.607-08:00Balboa Park, San Diego, CA<a href="http://www.paulsearsphotography.com"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 445px; height: 392px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/BalboaPark-2.jpg" border="0" alt="" /></a> <br><br> A few months ago a pro photographer friend of mine recommended Balboa Park in San Diego as a great place for a shooting trip. Recently I had the opportunity to take him up on it. Admittedly I was there in the off-season, but nonetheless it was a fantastic place to spend a day walking, shooting, and relaxing. Not to mention the San Diego Zoo is right there as well. If you're in the area and have the chance, it's well worth the time to check it out. <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-34697310718183942702009-02-01T10:47:00.000-08:002009-02-01T11:06:04.881-08:00New Greeting Card Multi-Packs!<a href="http://www.paulsearsphotography.com/?goto=greeting-cards&thumbs=ok"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 244px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/CardPacks.jpg" border="0" alt="" /></a><br />Introducing new greeting card multi-packs on <a href="http://www.paulsearsphotography.com"> <u>Paul Sears Photography</u></a>. In addition to single cards, Paul Sears Photography now offers greeting cards in packs of 5. There are currently 9 multi-packs available, with more coming soon. <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-78078207909001634602009-01-11T09:43:00.000-08:002009-01-12T07:27:32.308-08:00Nikon D90I came across an article recently in <a href="http://www.pdnonline.com/pdn/index.jsp"> <i><u>PDN</i></u> </a> about Nikon's new D90. <br><br> <a href="http://www.nikonusa.com/Find-Your-Nikon/Product/Digital-SLR/25446/D90.html"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 353px; height: 300px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/353_25446_D90_34l.jpg" border="0" alt="" /></a> <br> For quite awhile, I've been looking at the <a href="http://www.nikonusa.com/Find-Your-Nikon/ProductDetail.page?pid=25432"> <i><u>D300</i></u></a> as an upgrade to a 12.3 MP body. But now the D90 could be a contender. Price of course is a major difference between the two. The D300 is a pro camera, while the D90 is a consumer model at about half the price. <br><br> However one major difference (as you may have seen in the <a href ="http://press.nikonusa.com/2008/09/nikon_d90_ashton_kutcher_tv_sp.php"> <i><u>Ashton Kutcher TV spot</i></u></a>) the D90 is the first DSLR camera to shoot 720p HD Video. Video in a DSLR...interesting. Could be a lot of fun at ball games. Certainly something to think about... <br><br> <b><u>Similarities</b></u> <br> - Both the D300 and the D90 have a 12.3MP CMOS sensor. <br> - Both the D300 and the D90 have a 3" 920,000px color screen. <br> - Both feature Nikon's noise reduction up to ISO 3,200. <br> - Both have Nikon's D-Lighting image enhancement feature. <br> - Both have built-in sensor cleaning. <br> <br><br> <b><u>Differences</b></u> <br> - The D300 is considered a pro-level camera ($1,799 MSRP). <br> - The D90 is a consumer model ($999 MSRP). <br> - The D300 has a 51-point AF system. <br> - The D90 uses an 11-point AF matrix. <br> - The D300 shoots 6 frames per second. <br> - The D90 shoots 4.5fps. <br> - The D300 is a still-photo camera only. <br> - The D90 is a still camera but also shoots video. <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-70874879781225327512009-01-05T07:00:00.000-08:002009-01-05T07:28:45.855-08:00Shooting in Early MorningThis past Sunday (when the sun finally came out again in LA), I woke up early and headed up the coast about an hour to La Piedra Beach just north of Malibu. I've been wanting to try and catch the early morning light up there for a while. It was well worth leaving the house around 6:30am. The long light just after sunrise was perfect, providing warm highlights and fantastic directional lighting on the rock formations and wildlife. <br><br> The photo gurus always say, if you're going to use natural light, then shoot just after sunrise or just before sunset. They're right. Compared to shooting mid-day when the light is harsh and overwhelming, the subtle angled light of early morning is wonderful. On the three shots below, notice how the directional lighting provides dramatic contrast and warm highlights. <br><br> <a href="http://www.paulsearsphotography.com"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 264px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/6x4_PrettyWavecopy.jpg" border="0" alt="" /></a> <br> <a href="http://www.paulsearsphotography.com"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 264px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/6x4_GullWavecopy.jpg" border="0" alt="" /></a> <br> <a href="http://www.paulsearsphotography.com"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 264px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/6x4_Piper_Gullcopy.jpg" border="0" alt="" /></a> <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-6322083212874188952008-12-02T11:56:00.001-08:002008-12-07T09:58:53.071-08:00Nikon D3Well, since it's Christmas time, I thought why not do a post about my dream camera. The Nikon D3: <br><br> <a href="http://www.nikonusa.com/Find-Your-Nikon/Product/Digital-SLR/25434/D3.html"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 353px; height: 300px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/353_25434_D3_front.jpg" border="0" alt="" /></a> <br><br> Where to begin? 12.1 Megapixels - check. Low noise even at 25,000 ISO - check. Full Frame 35mm Size CMOS Sensor - check. 9 frames per second - check. Cnet Editor's Choice Award - check. American Photo, Camera of the Year - check.<br><br>Downside? Other than the pricetag ($5k) I'm struggling to find one.<br><br>Santa - are you reading this? <br><br><a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com1tag:blogger.com,1999:blog-7788928524749575372.post-19883177632463914012008-11-24T08:08:00.000-08:002008-11-24T11:53:31.125-08:00Using a Polarizing FilterEver take a photo on a bright sunny day, only to have the sky wash out and be pale bluish-white? Ever wonder how photographers manage to get that perfect blue sky?<br><br> <a href="http://i289.photobucket.com/albums/ll238/mcgrobb/Stitch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 133px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/Stitch.jpg" border="0" alt="" /></a> <br>One of the best ways to get the most out of the sky is to use a Polarizing Filter. A Polarizing Filter, or Polarizer, is a filter used to control the contrast and lightness of the sky, reduce glare and atmospheric haze, and increase color saturation. Here's a great example from the <a href="http://en.wikipedia.org/wiki/Photographic_filter"> Wikipedia article on filters </a> - the image on the right uses a Polarizer, while the image on the left does not: <br><br> <a href="http://i289.photobucket.com/albums/ll238/mcgrobb/500px-CircularPolarizer.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 133px;" src="http://i289.photobucket.com/albums/ll238/mcgrobb/500px-CircularPolarizer.jpg" border="0" alt="" /></a> <br><br>Yes, these days the effects of a Polarizer can be replicated in photoshop. But why spend the extra time to get a great shot on your computer, when you can get one right out of your camera. Most DSLR's will accept a polarizer, it simply screws onto the business end of your lens. Just know the diameter of your lens in mm (should be marked on the lens itself), and head to your local camera shop. They run in the range of $30-$50, but in my opinion, it's money well-spent for the time it saves in post processing.<br><br> The downside? You effectively lose a couple stops worth of light. Also, a polarizer can sometimes make your image a little flat by diminishing highlights too far in certain situations. So it takes a little practice to know when is the best time and place to use your polarizer. Just remember to carry a soft case in your bag, so you can stow your polarizer safely when not in use. <br><br>My advice? Spend the $30, practice until you know the best way to use your polarizer, and then enjoy all the time you'll save as well as more beautiful shots! <br><br><a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a> <br><br> Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-37820476263509661822008-11-17T08:02:00.001-08:002008-11-17T08:21:58.811-08:00Back in ActionWell, it's been quite a while since I've posted anything at all. It's been "that time of year" at my day job. I do advertising for video games, and September/October/November is the busiest time of year. But now, the 14+ hour workdays seem to have passed, at least for the moment. Meaning I'll be able to put a little more time and energy back into photography.<br><br>Stay tuned for more to come this week. Meantime, go buy Call of Duty World at War and James Bond Quantum of Solace the game! ;-)<br><br><a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a><br /><br />Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-75335448757124506352008-09-03T07:36:00.001-07:002008-09-03T08:06:54.144-07:00Auto BracketingWell, it's been a little while since my last post. We're into the busy season at work - consistent 12-14 hour days are leaving less time for photography (or anything else for that matter). And also I'm suffering from a little bit of Photography Overload coming back from my trip to Chicago (almost 4,000 raw shots to weed through). So I thought I'd do a quick blog about Auto Bracketing - one of the reasons I have so many pics to review.<br><br>Bracketing is the practice of shooting 2-3 frames on each shot you're trying to take, with each shot using different settings. The goal is to give yourself more options to choose from on the back end, to help ensure you get the perfect shot while you're out in the field and to help cut down on post processing.<br><br>There are a few ways to do bracketing. One way is to bracket the white balance - if you take 3 snaps of the same shot, the first one might be a little more red/warmer, the second might be a little more neutral, and the third might be a little more blue/cooler. Another way would be to bracket your flash - for example the first shot could be full power, the second shot could be 1/2 power, and the third shot could be 1/4 power. What I use most often is exposure bracketing - the first shot is a normal exposure based on the shutter speed and aperture I have selected, the second shot goes a little darker by adjusting shutter speed and/or aperture, and the third shot goes a little lighter.<br><br>Which brings us to Auto Bracketing. Many DSLR cameras have this as a standard setting, where you can select the number of frames to be shot in each set (1, 2, or 3), as well as the type of bracketing (white balance, exposure, etc), and the step value between each shot (how different is each shot going to be). I typically set up Auto Bracketing for exposure, 3 frames, with a step value of 0.3 (the lowest step value my D80 will do). That means it will take 3 frames, each about 0.3 stops apart in terms of exposure.<br><br>Once you set up Auto Bracketing, here's where the shots really start adding up - using Auto Bracketing in Burst Mode. If you set your camera up to do Auto Bracketing, and then turn on Burst Mode, you can snap 3 frames in about a second. That's what I've been doing a lot more of lately to make sure I get the shot I want - I get 'er all lined up, focus, check the light to help set my shutter speed, aperture and white balance, and then I snap 3 shots with Auto Exposure Bracketing in Burst Mode. Half an hour later, I've got a full memory card.... While it leads to more shot selects to go through on the back end, I will definitely say it has saved me tons of time in post processing because I can select the exposure I like best, rather than having only 1 shot to choose from and having to tweak in photoshop to get it just right. Now on to sorting through the Chicago pics... <br><br> <a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a><br><br>Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com3tag:blogger.com,1999:blog-7788928524749575372.post-80726834267936372742008-08-19T08:08:00.000-07:002008-08-19T08:08:01.302-07:00Robert Rauschenberg at Bergamot Station, Santa MonicaThis past weekend, the Mrs. and I went to check out <a href="http://www.bergamotstation.com/"> <i><u>Bergamot Station</i></u></a> for the first time. It's in Santa Monica, about 3-4 miles from where we live in Marina Del Rey. Near the 10 Freeway, kind of over by the Santa Monica airport.<br><br>Started the afternoon off with a nice caprese sandwich and a coffee, and then checked out maybe a dozen or so galleries and the Santa Monica Museum of Art. While we saw a lot of really cool stuff, I have to say I was totally blown away by the <a href="http://www.greenfieldsacks.com"><i><u>Greenfield Sacks Gallery</i></u></a>, which had a number of pieces from Robert Rauschenberg's "The Lotus Series" (2008).<br><br><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/RauschenbergLotus.gif" width="400" height="300"></a><br /><br><br>As you may know, Robert Rauschenberg passed this year. He was one of the preeminent contemporary artists in the world, and was LA-based. His work is heavily featured at LACMA and any number of other museums. So needless to say, to be standing face to face with these pieces, created only a month or so before the artist's death, it was an unbelievable experience. Each piece was selling for $15,000+, and not surprisingly only one piece was yet unsold. I dug through my pockets, and the Mrs. dug through her purse, but unfortunately we just couldn't quite come up with the $15k needed to buy that last remaining piece....lol. Either way, it was really cool to see the collection, and hopefully some of the work will make its way back into a museum someday.<br /><br><br><a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a><br /><br />Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com1tag:blogger.com,1999:blog-7788928524749575372.post-36811151051821045702008-08-14T07:48:00.000-07:002008-08-14T07:48:08.804-07:00Nikon SB-600 SpeedlightOn the advice of a good friend and fellow photographer, <a href="http://www.donlupo.com"><i><u>Don Lupo</u></i></a>, I've been spending some time learning more about lighting. Don's point has always been that while my "available light" shots have been pretty good, adding some lighting could really help make them even better. I've been on the fence for a while, because my philosophy has always been to bring less gear and to capture moments "in the raw." All the commercial shoots I've been to, the photographer has so much lighting gear that he/she needs 1 or 2 assistants, a stylist, etc - but for me I want to keep it simple and just shoot. <br><br>But I try to tell myself I'm an open minded guy, so going on Don's advice, I've been spending a lot of time lately reading David Hobby's blog - <a href="http://strobist.blogspot.com"><i><u>Strobist.com</i></u></a>. The Strobist approach is a middle-ground if you will, a way to do professional lighting with "speedlight" standard flash units - not huge studio lights. The more I've been reading, the more interested I've gotten. <br><br>So I made the jump - I forked over some moolah (thanks a lot Nikon for making this an expensive hobby...) and picked up a Nikon SB-600 Speedlight as my first strobe.<br><br> <a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/sb600.jpg" width = "400" height="300"></a><br /><br><br>The SB-600 is Nikon's middle flash unit - the SB-800 (or the new SB-900) is the high end, and the SB-400 is the low end. All of the above work together with Nikon's proprietary lighting software called CLS (Creative Lighting System). The CLS basically allows you to use multiple speedlight flash units and sync them all together with one push of the button on the camera. So instead of needing 4-5 large studio lights, you could use 4-5 flashes instead, and they all flash at just the right moment because of the CLS software. For me, for now - I'm content trying to figure out how to use just one... <br><br>The other two things I got at the same time as the flash are the Omni-Bounce Diffuser and the Nikon SJ-1 gel kit.<br><br> <a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/Diffuser.jpg" width = "200" height="150"></a><br><br /> <a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/Gels.png" width = "200" height="150"></a><br /><br><br>The diffuser helps a lot to reduce the harshness of the light coming off the flash, instead creating a soft diffused light like what you'd get in the studio. The gels insert right into the flash head, and can help mitigate the greenish effects of fluorescent lighting and the orange-ish effects of incandescent lighting, or provide accent color if needed. <br><br>While I haven't had too-too much time to practice yet, I think next week's trip to Chicago will offer ample opportunity to play around with it. Meantime - here's a couple of shots I took down at Venice Beach using the flash + diffuser. By putting lighting on the subject in the foreground, it balanced the brightness between subject and sky - allowing me to shoot a little darker and get a deep blue sky while still being able to see the subject. Overall from 1 day's practice, I'm pretty happy with the results!<br><br><br /> <a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/DSC_0282.jpg" width = "150" height="225" align="right"></a><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/DSC_0289.jpg" width = "150" height="225" align="left"></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com1tag:blogger.com,1999:blog-7788928524749575372.post-27650997201228582602008-08-12T07:52:00.000-07:002008-08-12T08:20:47.744-07:00Tamron 2x Teleconverter In ActionThis past weekend, the Mrs. and I went to the Angels vs. Yankees game down in Anaheim so I could test out my new Tamron 2x teleconverter before we head to Wrigley Field for the first time next week. In order to really put it to the test, we decided to sit in the nose-bleediest of nosebleed seats:<br><br><br /><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/AngelsSeatingChart.jpg" width="400" height = "300"></a><br><br><br /><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/SeatDataAngels.jpg" width="400" height = "300"></a><br /><br><br>It actually worked out pretty good. The hard part is trying to dial-in manual focus at that long of a distance. Also, with a teleconverter you automatically lose 2 stops of aperture so I needed to increase the ISO up to about 400 (even in bright sunlight) to ensure I could run a fast shutter speed. 1/500 is usually minimum for sports. The good news is the teleconverter worked just fine in burst mode, so I was able to snap about 3-4 frames per second even at extreme zoom. You definitely need burst mode to get those "magic moments" at a ballgame. Higher-end pro cameras will shoot as fast as 6-9 frames per second.<br><br>Overall, a little more practice needed, but for a first attempt and considering how far away our seats were, I'm pretty happy with the results.<br><br><br /><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/MarianoRivera1_SM.jpg" width="200" height = "300" align="left"> <img src="http://i289.photobucket.com/albums/ll238/mcgrobb/MarianoRivera2_SM.jpg" width="200" height = "300" align="right"></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0tag:blogger.com,1999:blog-7788928524749575372.post-83736628378585607232008-08-05T07:50:00.000-07:002008-08-05T16:31:41.774-07:002008 Los Angeles Juried Exhibition - Opening ReceptionThis past Sunday was the opening reception for the 2008 Los Angeles Juried Exhibition at the Los Angeles Municipal Art Gallery in Hollywood. It was a really fun day! Luckily we got there early enough to get parking, because as with most of LA, parking was at a premium. Basically the gallery is on top of a huge hill, and any latecomers had to park all the way at the bottom and walk up.<br><br>The opening was pretty well attended, and was a lot of fun. The gallery provided the requisite wine, fruit and cheese. There were a couple of bands, and 92 really cool pieces to check out - painting, photography, scuplture, video, and a couple of large installations. The exhibition will remain up through September 7 - so if you're in the neighborhood, feel free to stop by any time:<br><br><CENTER>Los Angeles Municipal Art Gallery<br>Barnsdall Park: 4800 Hollywood Blvd<br>Los Angeles, CA 90027<br><br><br /><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/DSC02180.jpg" height="300" width="400" ></a><br><br><br /><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/DSC02186.jpg" height="300" width="400" ></a><br><br><br /><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/DSC02192.jpg" height="300" width="400"></a><br><br><br /><a href="http://www.paulsearsphotography.com"><img src="http://i289.photobucket.com/albums/ll238/mcgrobb/DSC02210.jpg" height="300" width="400"></a><br><br></CENTER><a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a><br /><br />Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com2tag:blogger.com,1999:blog-7788928524749575372.post-26549455265014130832008-07-28T07:43:00.000-07:002008-07-28T07:44:08.833-07:00John Baldessari - "Wrong" (1967)This weekend, the Mrs. and I did one of our favorite Sunday activities - lunch at the Farmers Market followed by an afternoon at LACMA. We again stopped in at the <a href="http://paulsearsphotography.blogspot.com/2008/07/philip-lorca-dicorcia-at-lacma.html"> <i><u>Philip-Lorca DiCorcia exhibition</u></i></a>, then onto the modernists and finally the contemporary building.<br /><br />This week's eye-catcher for me was <a href="http://courses.washington.edu/hypertxt/cgi-bin/12.228.185.206/html/wordsinimages/wordsin.html"> <i><u>John Baldessari's "Wrong" (1967)</u></i></a>, in which a black and white photograph of Baldessari standing in front of a palm tree is captioned simply with the word "Wrong." This piece is part of a series of work by Baldessari in which he painted text on canvas, in an attack on the art "establishment" of the time. <a href="http://gramatologia.blogspot.com/2008/02/john-baldessari.html"> <i><u>Here is a blog</u></i></a> with pics of a few of the pieces in this series, including one of my favorites, "Everything is purged from this painting except for art..." (1967-1968).<br /><br />For "Wrong," Baldessari had been referencing a chapter on composition in a book on photography technique. Clearly the composition of the photograph is a little off and perhaps not-so-compelling. But the irony of the word "wrong" slapped on there in black, like an edict or a final judgment, is just delightful. The wonderful thing that Baldessari and other artists of his time such as Warhol, Lichtenstein, Rauschenberg, and Ruscha did was to turn convention on it's ear and just ask the question "says who?" Just like Picasso, Rothko, Matisse, Magritte, Pollock and so many others did a few decades earlier. That's the wonderful thing about contemporary art and photography - there is no "wrong" execution of the idea - there is just the idea. Baldessari, considered to be one of the most important influences on contemporary, conceptual-based photography, was quoted as saying <i>"You don't want anyone to say 'You can't do that!' But you do get a lot of that in New York. One of the healthiest things about California is - 'Why not?'</i><br /><br /><a href="http://www.paulsearsphotography.com/"><b><u>www.paulsearsphotography.com</u></b></a><br /><br />Or check out more Paul Sears Photography pages on <a href="http://www.myspace.com/paulsearsphotography"><b><u>MySpace</u></b></a>, <a href="http://www.facebook.com/pages/Paul-Sears-Photography/14204326445"><b><u>Facebook</u></b></a>, or <a href="http://www.flickr.com/photos/26381574@N04/"><b><u>Flickr</u></b></a>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com3tag:blogger.com,1999:blog-7788928524749575372.post-10043278192396930282008-07-24T07:32:00.000-07:002008-07-24T08:23:43.973-07:00Excerpt From "Visions From America: Photographs from the Whitney Museum of American Art 1940-2001"This excerpt is taken from <a href="http://www.amazon.com/Visions-America-Photographs-1940-2001-Photography/dp/3791327879"><i><u>Visions From America: Photographs from the Whitney Museum of American Art 1940-2001<i></u></a></i></i><br /><p><i><i></i></i></p><p><i><i><span style="font-size:130%;">A Medium No More (Or Less): Photography and the Transformation of Contemporary Art -- by Andy Grundberg</span></i></i></p><p><em><span style="font-size:130%;"></span></em><br /><span style="color:#c0c0c0;">During the final fifty years of the century just past, contemporary art changed in so many crucial respects that if a reviewer had been cryogenically frozen in 1950 only to be thawed out in the year 2000, he or she would find most of the art we now enjoy to be incomprehensible. But one fact would be readily apparent to even the most discombobulated critic: where once contemporary art was synonymous with painting and sculpture, it now consists of a broad spectrum of media--foremost among them photography and its sister lens-based forms, film and video...In 1950 this was not the case; indeed, photography was virtually invisible. How did this transformation from stagehand to star take place, and why?</span></p><br /><span style="color:#c0c0c0;">The question is not uncomplicated. The story of how photographs came to be an integral presence in the art world does not have a single, linear narrative. Nor is it accurate to say that two independent histories, one of photography and the other of art (read: painting and scultpure), came together at last. Rather, there are three interlinked narratives to consider, each of which has its own complexities. We might refer to these narratives, albeit approximately and crudely, as the history of photographers making art, the history of artists making photographs, and the history of hybridity in contemporary art....<br /><br /><span style="font-size:130%;"><em>Photographers Making Art</em></span><br />For photographers in the late 1940's and throughout the 1950's, the dominant aesthetic presence to emulate or rebel against was Alfred Stieglitz. Although Stieglitz died in 1946, after a lifetime of promoting photography and later American painting as significant forms of art, his legacy endured for at least two more decades....<br /><br /><em><span style="font-size:130%;">Artists Making Photographs</span></em><br />...In 1962, Robert Rauschenberg and Andy Warhol began to make paintings by silk-screening photographic images onto canvas. In Rauschenberg's case, the method was akin to collage; he melded a variety of images onto a single canvas. Warhol took a more radical approach, repeating the same image in rows and columns...<br /><br /><em><span style="font-size:130%;">Hybridity</span></em><br />Within the space of two decades, from 1970 to 1990, photography had been normalized as a medium for contemporary art. It had served the aims of artists as an instrument of conceptual, anti-material practices, as a cultural manifestation with its own intriguing metaphysical and semantic qualitites, and finally as a party to the investigation and so-called deconstruction of lens-based representation. In the course of this progression, photographs became valued objects in a newly expanded marketplace for art. This market grew in part as a consequence of the establishment of new support structures for photography: galleries that presented photographs as saleable artworks, museum departments of photography that collected and exhibited photographs...and new publications that served as information sources for collectors, critics, and curators.</span>Paul Searshttp://www.blogger.com/profile/10522932072746913891noreply@blogger.com0