Author: Diane Berkenfeld

Making the Switch to Nikon Full-Frame Mirrorless Cameras

Post author By Diane Berkenfeld
Post date September 26, 2024

Julia Icenogle photo of an Aurora over mountainous landscape — Z f, NIKKOR Z 14-24mm f/2.8 S at 24mm focal length, f/2.8, 4 sec, ISO 2000. I’ve chased the aurora many times, but nothing could have prepared me for the fantastic display on the night of May 10, 2024. At first I was worried that the ridge to the north of my location, or the tree line to the northeast might block the lights, but the aurora was so intense that it occupied the entire sky. Several shots from that night were actually taken looking south!

Astrophotographer Julia Icenogle on Why She Made the Move

Julia Icenogle is an astrophotographer and illustrator based in Seattle, Washington. She started her photographic career with a DSLR, then was using an APS-C size (crop sensor) mirrorless camera before making the switch from another brand to Nikon full-frame cameras with the Z f and Z 7II. After a busy season which took in the spring total solar eclipse, a major solar storm and plenty of expeditions to capture the Milky Way, Julia sat down with us to talk about her approach to astrophotography and what she needs from her camera gear.

Julia explains what first drew her to the art of astrophotography, and why she keeps at it, despite the unique challenges.

I’ve been interested in astronomy and photography since I was a kid, but it took a couple of decades before I realized I could combine the two. My first night photo was taken on a Nikon D5000, and it is an objectively terrible image, but seeing the stars appear on the LCD screen for the first time felt like a kind of magic. That was it—there was no turning back, and that’s what keeps me going.

You have to be pretty enthusiastic about astrophotography to do it, because it can be very challenging. Clouds may drift in at the exact moment the Milky Way is in the perfect alignment. Your focus could be off. An airplane might somehow manage to find its way into every shot, and fatigue from hours of being up all night can lead to dumb user errors. But occasionally you’ll get something amazing.

Julia Icenogle photo of the April 8, 2024 total solar eclipse — Z f, NIKKOR Z 100-400mm f/4.5-5.6 VR S + Z Teleconverter TC-1.4X at 560mm focal length, f/8, 1/250 sec, ISO 400. The eclipse in spring this year was pretty much my first time using the Z f. With every hour it seemed less likely that we’d see anything because of cloud cover. When totality started, and the eclipsed sun finally emerged, I frantically got the camera aligned and began shooting at various shutter speeds, getting as many images as I could while staring in awe at the sky. Just a few miles down the road, people didn’t see a thing.

The solar eclipse earlier this year is a good example. Despite years of historical weather data suggesting that Real County, Texas would have a good probability of clear skies, things were not looking great in the days leading up to the eclipse. With the forecast worsening, I considered packing up camp and driving all night to Arkansas, the next nearest spot with a better outlook. In the end I decided to stay put and take my chances. On the morning of the eclipse, a thick cloud cover rolled in as predicted. Following local folklore, we whistled for more wind to clear the sky, which must have worked, because about halfway through totality the eclipsed sun emerged in all its glory!

Julia Icenogle photo of a starry sky over a mountain landscape and its reflection in a lake — Z f, NIKKOR Z 35mm f/1.8 S, f/2, 13 sec., ISO 3200. Lost Lake is a popular spot for astrophotographers. On perfectly windless nights, the lake becomes a mirror for Mt. Hood. This is a single exposure.

Z f for Astrophotography

In addition to the image quality benefits of the Z f’s full-frame sensor compared to my previous APS-C format cameras, the manual dials are very handy for night photography. When you’re looking down at a screen to change exposure settings, you can easily blow out your night vision, so being able to change settings by touch is fantastic. My previous cameras had a similar control layout, so when the Z f was announced, it was a lot easier to contemplate making the switch back to Nikon, and also upgrade to full-frame.

The manual dials are also useful during time-sensitive events like a solar eclipse. You’re watching the most amazing phenomenon and you’ve only got a minute, and you know that if you mess up, it’ll be years until you get another chance. In a situation like that I don’t want to be distracted staring at settings on a little screen for even a second. During the eclipse I wanted to get a variety of exposure times in order to capture prominences and the inner, middle, and outer corona. I was able to do that quickly by touch, just by turning the shutter speed dial a notch or two in either direction.

Julia Icenogle photo of car lights around the bend in the rode, taken in low light with a slow shutter speed — Z f, NIKKOR Z 14-24mm f/2.8 S at 24mm focal length, f/2.8, 117 sec., ISO 640. I’ve met some wonderful friends through astrophotography, and often the camaraderie is the main factor that keeps us motivated to get out to shoot. On a cloudy night, I had an idea for an interesting shot. My friend volunteered to drive up and down this mountain road during a long exposure and had the brilliant idea to open the sunroof with all the interior lights on for an interesting effect.

With so many possible variables that can affect a shoot, Julia spends a lot of time planning her expeditions. How does she approach a typical shoot?

I spend an embarrassingly long time searching satellite views on Google Maps for possible dark sky locations with no light pollution. The topographical maps on the Gaia GPS app help to determine if a mountain or landmark will be blocking the view. I’ll also check to make sure that the area I’m considering will be accessible at night and isn’t on private land. I scout locations during the day if I can, but sometimes I don’t have any option except to show up and hope for the best.

I use the PhotoPills app to check Milky Way core alignment, another app called Astrospheric to check the sky conditions, and yet another called Windy to double check the weather forecast. I also stay alert for notifications about potential Aurora activity and if I get pinged that it’s looking good, I’ll drop everything and go do that instead.

Julia Icenogle photo of Baring Mountain in low light with stars in the sky — Z f, NIKKOR Z 14-24mm f/2.8 S at 14mm focal length, f/2.8, 10 sec., ISO 2500. The summer solstice this year took place just a day before the full moon. I was backpacking in the Wild Sky Wilderness. It never got truly dark that night, so the Milky Way wasn’t visible, but the moon did light up Baring Mountain dramatically, making it worth the effort.

The camera settings required for successful night photography are completely different to other kinds of subjects. With shutter speeds often running into several seconds, high ISO sensitivities and very little light, getting clean, sharp images takes practice. How does Julia approach the challenge?

For the purposes of focus and composition I set my lens aperture wide open, and I usually focus manually on Jupiter or some other bright star or planet about a third of the way into the frame. If there’s still some ambient light, I might turn focus peaking on, which helps. Starlight View mode in the Z f is great for twilight and moonlight, and it’s very useful if I arrive at my location after sunset, when I’m composing shots in near-darkness. I shoot in manual exposure mode with the lens aperture either still wide open or slightly stopped down, and usually start with an ISO setting of between 2000-3200. When it comes to the shutter speed, I let PhotoPills do the math to determine how long of an exposure I can get away with for my camera and specific lens before stars turn from dots to lines. I don’t like looking at the LCD screen if I can help it because it can cast too much light, so I usually turn the LCD off and use the viewfinder, unless the camera is positioned at an awkward angle.

Julia Icenogle photo of Mt Fernow with the Milky Way in the sky overhead — Z 7II, NIKKOR Z 35mm f/1.8 S, exposure for the sky is f/1.8, 6 sec, ISO 2000; exposure for the foreground is f/1.8, 4 sec., ISO 125. This photo was from my new Z 7II’s first backpacking adventure in the Alpine Lakes Wilderness. This photo is stacked for focus and exposure. I shot the glacier lilies in the foreground about an hour after sunset, and then waited in the dark for the Milky Way core to align over the mountain.

Back when I was still considering making the switch to full-frame, I borrowed a friend’s Z 7 and did some side-by-side comparisons against my APS-C gear, and it was so much better. When I was shooting on APS-C, I learned a lot of strategies to reduce noise using third-party apps and image stacking and so on, but with the Z f, I’m finding that I don’t need to do any of that. I’ve just been capturing single exposures and adjusting in Adobe Photoshop Lightroom. I recently added a Z 7II to my collection as well, which has also been great for low-light photography. For lenses, I’m still building out my Nikon mirrorless kit, but I’ve been extremely impressed by the results I’m getting from the NIKKOR Z 14-28mm f/2.8 S and the NIKKOR Z 35mm f/1.8 S lenses. My dream lens would be a super-telephoto pancake for moon shots which I could take backpacking, but I know that’s impossible!

Vlogging

Grow Your Personal Brand with Vlogging and Video Podcasting

Post author By Diane Berkenfeld
Post date September 24, 2024

Latasha James using the Z 30 to capture herself recording video, showing her out of focus and her image on the camera's LCD sharper

What began for Latasha James in 2013 as a YouTube channel to share fashion and beauty videos has grown and evolved into a creator business and marketing agency, James + Park, which has clients around the globe. Today, Latasha teaches entrepreneurship and content creation through a video podcast and vlogs.

Latasha explained that video is a powerful medium for content creators to utilize.

Video podcasting is great for creators because it gives a large amount of source material to repurpose from for short form platforms. It’s also great because YouTube SEO is incredibly powerful—around 80% of my traffic comes from YouTube! Lastly, podcast listeners tend to have higher intent than viewers on shorter form platforms. There’s not as much competition for limited attention spans when compared with something like TikTok or Instagram Reels.

On the other hand, vlogs can be a valuable way to connect with your audience and bring some levity to your channel. I find that vlogs really help me keep the creative spark alive and also offer a fun glimpse behind the scenes to my audience.

We asked Latasha to share a few tips on video podcasting.

Podcasting: shoot a wide enough shot that enables you to crop in for short-form content repurposing.
Podcasting: use a high-quality microphone so you can use your video for podcasting platforms, too.
Podcasting: think SEO first! Long-form content is great for evergreen, longtail keywords as opposed to quick, trending content.

She also shared three vlogging best practices to keep in mind when creating your content.

Remember that everything is content. Take detail shots that you can insert later as B-roll and capture anything that catches your eye.
Be mindful of your background. Avoid shooting people in compromising situations (i.e. at the beach) or children.
Sound matters! Use a microphone to maintain consistent sound no matter the location you’re filming in.

It isn’t as difficult as one might think, to build a content strategy and becoming an authoritative voice in the space that a creator might already be working in. Latasha explains that a longer form content series like a video podcast will give you a lot of content that you can repurpose easily for short-form video like TikTok, Instagram Reels or YouTube Shorts, in addition to email content and more.

She also says, “Most creators know more than they give themselves credit for, so start by googling, searching Reddit, or using a tool like AnswerThePublic.com for the main keyword you’d like to rank for. Take a look at some of the common searches and start crafting a podcast around each of them. You can do the same thing with your most commonly asked questions that may come in through your website forms, social media DMs, or email inbox.”

Why the Z 30 is a Vloggers Best Friend

Latasha regularly uses her Z 30, NIKKOR Z DX 12-28mm f/3.5-5.6 PZ VR and NIKKOR Z DX 24mm f/1.7 lenses for vlogging, both on the go and when she records video at home. The Z 30 Creator’s Kit, which includes the Nikon ML-L7 Bluetooth Remote Control, a RØDE mic and a SmallRig tripod grip make recording herself super easy. “On the go, it acts as a monopod and remote that enables me to stabilize my camera and at home, it folds out into a tripod that I can set on my desk for quick vlog clips.”

I love the 12-28mm lens for creating dynamic vlogs! Since it’s wide angle, it captures all of the action and backgrounds that help tell the story, while maintaining focus on my face. And, I use I use the 24mm f/1.7 lens for creating cinematic shots with a soft, blurry background and sharp focus on the subject. This lens is perfect for video podcasts and talking head videos.

One of the features of the Z 30 that is really helpful to Latasha is the front red tally lamp or recording light. “I love the red light that stays on—on the front of the camera, which really helps for self-filming. Previously, I’ve wasted time thinking I was rolling when I wasn’t.”

Fashion/Beauty Portrait

Exactly Who Is “Troy With The Camera”?

Post author By Diane Berkenfeld
Post date July 29, 2024
Sticky post

Troy with the camera photo of a model in blue against a brown and blue background — Jamillah in Blue for "ROYGBIV: A High Fashion Series" Model: Jamilah Muhammad MUA: Markia Harris Stylist/Creative Director: Kyla’shay Leslie Designer: Amari Moneé

Troy with the camera (Troy Sawyer) portrait of a model looking at the camera — Kissed By A Rose Model: Tamiyah Garrett MUA: Markia Harris

Troy Sawyer had always had an interest in photography, taking photos of his friends in high school and college. His first DSLR camera was a Nikon D5200 and Troy was so often seen walking through his college campus shooting everything he could that he became known as ‘Troy with the camera’. The name stuck and became the name for his business. “I love to capture the beauty and essence of people. I love when I show someone their photo, their face lights up and they feel good about themselves,” he says.

Troy is primarily a self-taught photographer, having used a mix of YouTube tutorials, mentorship and guidance from more experienced photographers throughout his journey as well as having conducted numerous test shoots in order to experiment and refine his technique.

Troy’s describes his photographic style as vibrant, clean, and crisp, emphasizing vivid colors and capturing emotion, beauty, and essence. He explains, “My goal is to elevate my clients’ presence, aiming for a supermodel-like aura that exudes confidence.” He often incorporates edgy or dramatic elements as well.

Troy with the camera (Troy Sawyer) portrait of a model in yellow, sitting on a set of stairs outdoors — Gold Ballerina Model: Edlyn Emelia Yankah MUA: Markia Harris

A model collaboration

“I started working with models in 2022, and like any other client, I’ve found that exceptional customer service is key to building successful partnerships,” Troy says. Establishing strong client relationships is a priority, “so I make it a point to connect with models on a personal level during our shoots. This approach not only helps them feel comfortable but has also led to lasting friendships,” he adds.

He also believes in clear communication. “I recommend approaching models with a well-thought-out plan. As a visual thinker, I often share mood boards to visually show my ideas and make sure we’re aligned creatively from the start,” Troy says.

Troy with the camera (Troy Sawyer) photo of a model in violet against a purple background — Edlyn In Violet for “ROYGBIV: A High Fashion Series” Model: Edlyn Emelia Yankah MUA: Markia Harris Stylist/Creative Director: Kyla’shay Leslie

Vibrant, Eye-Popping Color

Troy doesn’t shy away from color, in fact he embraces eye-popping color. “Ever since I started shooting, I’ve always loved color and vibrancy. I shoot a lot of people of darker complexion, so I love shooting them in bright colors because it makes them pop as well as the colors. Over time I have learned to tone down the vibrancy some to please my clients and I feel like now I have found that sweet spot,” he says. In fact, Troy is well known for his use of color in his work, that clients will search him out specifically for his style and use of color. He explains, “it always warms my heart when somebody books me for exactly what and how I like to shoot. It makes me feel valued as a creative.”

Troy with the camera (Troy Sawyer) portrait of a model with flowers around her face — Flower Child Model: Medara Carlyle-Parker MUA: Markia Harris Stylist/Creative Director: Kyla’shay Leslie

Branding, Fashion, Beauty, Wedding and more

Troy’s business encompasses a variety of photography genres, including branding— specializing in skincare lines, hair, and clothing brands, portraiture for professionals, fashion, portrait and wedding imagery. “I take great pride in my branding shoots, where new business owners trust me with the visual representation of their ventures. I feel that this is where my skills truly shine,” he says.

Working with new or small businesses is extremely rewarding because it allows us to develop a long-term relationship where I can become their go-to photographer for all their needs. For my branding shoots, I collaborate closely with the brand owner to identify and select models that best showcase their products.

Troy has been able to bridge fashion and love (wedding, engagement) work into a unique style that’s all his own. “When showcasing moments of love, I try to add a little flavor to the photos, making them appear both natural and glamorous. I believe that clients who book me for weddings or engagements desire a blend of authenticity and star quality,” he says. It is so important to have a detailed consultation with the couple to understand their preferences, whether they envision a fashion magazine-style shoot or a more traditional approach. He notes: “This discussion not only clarifies their vision, but also puts both our minds at ease as well as helps me plan the necessary shots, prepare the mood board, and make sure I bring the appropriate equipment for the session.”

If you check out the beauty gallery https://troywiththecamera.com/beauty on Troy’s website, you’ll see that he’s showcased a row of images from each of his shoots. We wanted to know the impetus was for this layout. Troy explains that it’s a combination of showcasing the diverse emotions captured in each shoot and the difficulty in culling down to only one image.

Evolving and Growing

One of the cooler projects that Troy came up with was his ROYGBIV photo series, in which he shot a unique look for every color in the rainbow: red, orange, yellow, green, blue, indigo and violet. “This project was very special to me because it was my first big project after graduating and moving back home to Atlanta. I feel like this was a platform to show people my work as a fashion and editorial photographer,” he explains. For the series, Troy collaborated with a full team that included a makeup artist, hairstylist, wardrobe stylist, creative directors, and videographers. “Together, we meticulously planned and executed each look, surpassing even my own expectations for the project’s outcome,” he adds.

Troy hopes to work with a variety of prestigious publications in the future as well as influential artists.

As a photographer, my goal is to capture and highlight the unique beauty and essence of each client. While I am pleased with my progress thus far, I recognize that there is still much more I wish to achieve in my career. I am committed to continually evolving as an artist and striving for excellence in every project I undertake.

Portrait Street

A night on the Town with Aaron Pegg, the Nikon Z f & Plena Lens

Post author By Diane Berkenfeld
Post date July 29, 2024

Aaron Pegg photo of a model at night, in low light — A Night Out In little Italy there were lots of lights on the street and building. “I wanted it to feel like she was on the go. I waited for a car to appear on the left side of Jada to add more depth to the image and I also feathered the strobe to add some light to Jada’s face,” notes Aaron.

Aaron Pegg photo of a model at night, looking off camera — Evening Beauty. “This was one of the first shots of the evening. I placed Jada between a store front window (on her right side) and a food cart (which is to her left) and I was able to get enough light on her face and clothing to produce this shot. I just placed her closer or farther away from these two ambient light sources until I achieved the desired look you see here. Knowing that I could achieve this at night, with no additional strobes made me very happy,” explains Aaron.

New York City–based Aaron Pegg recently had the opportunity to photograph a model using the retro-styled Nikon full-frame/FX format Z f mirrorless camera and the NIKKOR Z 135mm f/1.8 S Plena lens. Wanting to challenge himself, Aaron came up with a scenario that would test the camera’s low-light capabilities while utilizing the stunning bokeh the Plena is known for.

This was my first night shoot and I wanted to challenge myself to photograph a dark-haired subject with the quintessential New York all black outfit.

The story behind the imagery is about a young lady headed out for the evening in NYC. Aaron notes: “I knew the Plena’s circular bokeh and the Z f’s low-light capabilities would be perfect to capture these moments!”

The Z f with its retro design has been Aaron’s go-to camera choice as of late. The Eye-detection autofocus has been quite beneficial for Aaron, who often shoots in low-light conditions. “I feel like it’s very rare now that I am missing focus on a portrait,” he explains, adding, “The low-light capabilities have made it so much easier to photograph subjects in the subway and at night!”

Aaron Pegg photo of a model at night, on the street, partly lit by pink neon — Gotham Pink. “While we were walking around Soho, I noticed a restaurant with a neon pink sign casting pink light. I thought this could be a great way to add some fun and pop of color in the image while adding to the story of Jada’s night out in NYC. So, I placed Jada under the light but it washed over her entire face, but I loved the pink lighting on her leather jacket, so I decided to place the strobe on the right side of her face so that the pink neon acted more like a side light while leaving her natural skin tone,” notes Aaron.

A Touch of Light

“Knowing that the 135mm Plena lens was going to produce some beautiful big circular bokeh, I needed to find a location in NYC that had a lot of lights in the scene and some great ‘available light’ or ambient light that I could use to light my subject,” Aaron explains. So, he searched out locations where he’d be able to use available light from a store front or food cart along with one strobe that he used to shape the lighting.

In a few of the images from the shoot, I used ambient lighting. However, for most of the images, I used a strobe with a larger softbox. The key to these images was to make the lighting feel more natural and make it feel like Jada (the model) was lit by more practical lighting in the scene, like the car headlights or lights from a store front. In order to achieve these, I had my assistant feather the light, so only part of it was hitting the subject.

Aaron Pegg photo of a model at night, sitting on a bench, looking off camera — Waiting for a Friend. The car lights were reflecting against the fence. “I knew that it would add some separation with Jada sitting in front of it. I feathered the off-camera flash on the left side of Jada to add some fill light and to add detail to her face and body. I love the subtle subdued result,” notes Aaron.

One Model, Many Options

Aaron often wants to tell a story with his shoots, especially when on location—it sets the tone for both him and his models.

I think the key to getting a variety of great shots on any shoot is to be intentional. Why is the subject wearing this outfit? Where are they going? What are they doing? How do they feel? The answer to these questions will help craft how I want to capture a scene and what shots I need to tell the story fully.

But one tip Aaron suggests is to not just stick to a plan but leave room to adjust on the fly. “I like to leave room for improvisation because those candid moments can lead to new ideas and that’s where the magic lies at times,” he adds.

The Results are In

Aaron has pretty much used all of the Nikon Z series mirrorless lenses and found the 135mm Plena to be an amazing piece of glass. He concludes: “I think the compression and bokeh that I was able to achieve with this lens is like no other!”

Lighting Portrait

A Fusion of Illumination and Education with Arturo Carillo and the Art Factory

Post author By Diane Berkenfeld
Post date July 27, 2024

Arturo Carillo photo of a woman in a red blouse at night looking at a white shining door frame around a tree limb — Mother Nature vs the World

Arturo Carillo photo of a woman with red lanterns in low light — The Year of the Dragon

As a young Marine, visits home for Arturo Carillo included reaching for his parent’s Nikon camera, so it wasn’t much of a surprise that when he left the military, Arturo gravitated to that camera and his passion for photography grew. The rest, as they say, is history. Not that art was foreign for Arturo—far from it. Growing up he’d immersed himself in art in all of its forms: drawing, painting, sculpting and graphic design.

Arturo says that low-light photography chose him. As a co-owner of a construction company with his dad, 12-hour workdays left little time for shooting during the day. He explains, “Often, my only option was to create at night. So, I adapted and learned to master lighting, using it as a medium to express myself. The more I experimented, the more I fell in love with the control I had in shaping scenes and photos with continuous lighting.”

Continuous lighting is Arturo’s go-to solution for illuminating a scene.

Nothing rivals the complete control that continuous lighting offers me over every scene. As an artist, I thrive on the ability to witness the final result unfolding in real-time. Continuous lighting enables me to see and adjust details instantly. This immediacy not only enhances my creative process, but also deepens my connection with each artistic vision, ensuring that every detail is meticulously crafted to perfection.

Flash photography, on the other hand, isn’t as immediate, since you need to shoot first and review the lighting on a scene on a display screen.

Arturo Carillo photo of a model against a red and yellow building — Colores de mi Tierra “Colors of my land”

The Art Factory is Born

The Art Factory was born from a collective group of seven strangers who, one by one found each other, to create a space where creators/creatives could come together and push their creative limits. “We had the desire to build a supportive environment where photographers could connect, collaborate, and thrive.”

The creatives behind the Art Factory understand firsthand the challenges that new artists face when it comes to accessing resources. So, they provide the space and resources that allow creators to create freely through photography meetups, workshops, photo walks and the recently added Creative Retreats. “What makes us special is that all our themes revolve around low-light and continuous lighting,” he adds.

We just hit our first year and we’re excited to announce we are now helping brands and studios tell their story through our unique storytelling and use of continuous lighting. We’ve cultivated a creative family here at the Art Factory, and now, we’re venturing beyond to empower brands to foster similar families within their own communities.

We wanted to know what drives the group behind the Art Factory.

I can speak for the entire team when I say this: every event leaves us with a renewed perspective on life. The bonds we’ve forged with fellow artists at these gatherings transcend the photos we capture and the techniques we impart. The real joy comes after the event. We see artists honing their skills and securing new opportunities, all thanks to the knowledge they gained and the connections they made with us shortly after the event.

Arturo explains, “The most rewarding feedback we receive is a simple yet powerful question: ‘When is the next event?’ Those five words fuel our passion and drive us to create the next experience.” Photo walk participants range in age from 18 through 72 years old, and they’re artists of all kinds—models, designers, photographers, videographers, business owners, and more.

The team at the Art Factory want to ensure that every individual finds something valuable, gains new insights, and leaves the events feeling like part of the family. By specializing in the art of low-light photography, he says, “We provide a platform for artists to master this demanding niche. Mastering lighting is just one of the many crucial elements in creating an image that makes the viewer feel immersed in the scene.”

Arturo Carillo photo of a model with a guitar in front of a tree that's burned out from the inside — Music sets your soul on fire

Events at the Art Factory

The 2-3 hour meet-ups bring creators together for collaborative photoshoots, where everyone can explore various perspectives on the same set, to ignite fresh ideas among participants.

The one-day workshops offer more personalized mentoring. Tailored to meet the specific needs and interests of attendees, these workshops offer a full production setup with the Art Factory team acting as assistants to help participants realize their visions. With a maximum of six attendees, each creator gets dedicated 30-minute increments to control the set while others observe and learn. This simulates the pressure of a real-time production environment in a supportive and instructive setting. The newest offering, Creative Retreats, hones in on all aspects of being a creator. They are 2-4 day getaways focus on storytelling, landing dream brands, effectively managing social media, and balancing life as a full-time creator.

Doors Opening

The LED Door photos drew inspiration from an anime showcasing a mysterious door standing alone in a grassy field. To create the image, Arturo constructed a door frame out of 2×4’s that he attached light tubes to. “I wanted to convey the resilience of nature compared against technology,” he explains. The door frame was then elevated above a low laying tree, which created the illusion of the tree breaking through the door. “This project symbolizes the harmony between natural beauty and technological advancement, urging viewers to contemplate the coexistence of these seemingly different elements,” he adds.

Arturo Carillo photo of a woman at night illuminated partially by white light behind her — Reconnecting with Nature

Slow is Smooth, and Smooth is Fast

In a world that moves so quickly, especially due to social media, one thing has stayed with Arturo from his military days: “’Slow is smooth, and smooth is fast.’ This saying serves as a powerful reminder that each of us is on our own unique journey. We often compare our success to others on social media and feel the pressure to move just as quickly, if not faster. Remember, ‘Slow is smooth, and smooth is fast.’ Embrace your own pace and trust in your process.”

Fashion/Beauty Portrait

Avant-Garde Fashion with Joyce Charat and the Z6III

Post author By Diane Berkenfeld
Post date July 16, 2024

Joyce Charat photo of a model in purple, in front of a desert lake, taken with the Z6III — This moment felt magical. We knew we were getting great shots and I wanted to capture the gown in motion against the beautiful sunset and mountains.

Joyce Charat photo of a model in an earth tone outfit, sitting on the desert hill, taken with the Z6III — This was the first look that we captured on the shoot, so it’s morning light. I wanted to give a feel of the model Alyona being on a different planet.

Joyce Charat is a fashion photographer and director with a distinctive visual style. Her first camera was “a pink COOLPIX” borrowed from her mom, which she replaced with a D5600 before upgrading to a D850, and ultimately switching to mirrorless with the Z8 and Z6III. In this interview, Joyce gives us a behind-the-scenes look at a high-concept photo and video shoot with the Z6III and describes how she and the camera got on in the tough conditions of California’s Death Valley.

Joyce Charat photo of a model in an off-white outfit in the desert with mountains in the background, taken with the Z6III — This image was from our second outfit of the day. It was such a beautiful and stunning view, I wanted to capture the details of the background as well.

Joyce’s work is characterized by motion, bold colors, unconventional framing and a distinctive hyperrealism, often created using very wide focal lengths. What lenses and lighting equipment does Joyce reach for to create her “signature look”?

My core lens kit consists of three lenses. The NIKKOR Z 24-70mm f/2.8 S, an adapted (using the Nikon Mount Adapter FTZ) Nikon AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED and the NIKKOR Z 14-24mm f/2.8 S. The 24-70mm is an essential, super-versatile lens, while the 8-15mm lets me distort people and make them appear tall and powerful. The 14-24mm is perfect for times when my client doesn’t need such an extreme “fish-eye” effect, but I still want to add my signature style. Lighting is so important—it’s what really elevates my images. My main kit consists of Profoto B10X Plus strobes, bounce boards, and some modifiers.

Joyce Charat photo of a model in a black gown sitting on a stool in the water, taken with the Z6III — This was shot in a salt lake in the middle of the desert in very harsh conditions. We had to be efficient and shoot quickly so the model’s dress didn’t stain white due to the high concentration of salt in the water.

The Z6III comes with a suite of powerful features such as 6K/60p internal RAW and Full HD/240p video, and new hardware including the brightest electronic viewfinder of any mirrorless camera. Joyce explains the concept behind the stunning imagery that she created for the Z6III launch campaign, and how the camera’s advanced features and powerful performance helped her get the results she wanted.

Joyce Charat photo of a model sitting on a rock in the desert, with hair flowing, taken with the Z6III — This was captured during the hottest part of the day, where the sun was the brightest. I decided to use a wind blower to blow the model’s hair and add more dimension to the image.

I wanted to create a surreal and dreamy world to contrast with the beautiful avant-garde costumes. My goal was to evoke a sense of freedom, disorientation and escape—really bringing the viewer to another planet.

Joyce Charat photo of a model standing in front of a lake, wearing a flowy purple outfit, taken with the Z6III — This image was the second to last look. We were racing against the sunset to make sure we got every shot we needed. I used a strobe to make the beautiful fabric of the gown stand out.

Shooting in such an extreme desert environment is very challenging. We were working for almost 12 hours in very hard conditions—from the cold of dawn to the heat of the day, with no shade, and the Z6III was incredible. The viewfinder stayed clear and detailed even in the incredibly bright sunshine, which was amazing. I like to capture a lot of action, and I had the idea to blow big bubbles then film them in slow motion. The Z6III’s new Full HD/240p video mode ended up delivering even better quality than I’d expected, and we didn’t experience any overheating, even in such a hot environment. Full HD at 240 fps is amazing and allows me to get creative shots I would not be able to get on the Z8 or any other Nikon camera. It’s unique. I’m planning a fashion editorial involving water and flowy dresses and shooting it all in 240 fps slow motion!

When I was working with the Z6III, I was surprised by how light and compact the camera felt. Both my Z8 and the Z6III are so much faster than the D850. Switching to mirrorless was life changing for me. I’m able to do so much more now, in both stills and motion, with a lighter and faster body.

Joyce Charat photo of a model in a short dress in the desert, with blurred water and mountains behind her, taken with the Z6III — This was one of my favorite looks of the day. I used the NIKKOR Z 135mm f/1.8 S Plena for the first time, and it created beautiful bokeh against the golden hour and warm
mountains.

Shooting in the extreme conditions of the Californian desert with a large crew and a completely new camera was a challenge—Joyce reflects on the experience:

I was nervous about working with a brand-new camera that I hadn’t used or tested before the shoot—I just knew I wanted to create my best work. But when we wrapped, I remember looking up at the sky and snowy mountains as the first stars started appearing and telling myself “We really did it”. I felt very grateful. I’ll never forget that incredible day. It truly felt like a project created out of love and passion, and it brings me so much joy to see a project go from my imagination to reality.

Photo of Joyce Charat with the Z6III mirrorless camera on a gimbal, standing in a salt lake in the desert — Joyce Charat shoots with the Z6III mirrorless camera on a gimbal, standing in the salt lake in California’s Death Valley.

Landscape

Urban Dreamscape Imagery

Post author By Diane Berkenfeld
Post date June 21, 2024

Brittany Kunkel photo of a path in Central Park lit by streetlamps in low light — The Mall, Central Park, NYC. Brittany notes that she loves how the Central Park Mall when it is drenched in amber light after dark. The combination of the thick fog and golden fall leaves accentuated the mood, making for an eerie and mysterious scene, with the viewer’s eye drawn along the leading lines of lights and trees into the unknown.

Through creator Brittany Eliza Kunkel’s eyes, the urban Manhattan landscape is transformed into ‘dreamscapes’ overflowing with emotion and intrigue. Brittany uses the environmental elements to stir up emotion and mood in her images.

Using weather to your advantage

While inclement weather may hold some photographers back, I find that’s the time I reach for my camera the most. Rainstorms, snowstorms, and fog are some of my favorite conditions to shoot in because of the ethereal and mysterious atmosphere these elements have the power to create.

Brittany also uses the elements to enhance the scene in front of her camera.

Mist and snow act as natural diffusers, resulting in soft light and dream-like auras, as well as creating more separation and depth between layers of a scene.

Brittany Kunkel photo of a bridge in Central Park, during a snowstorm, colored with soft tones — Bow Bridge, Central Park, NYC. This was captured during a serene snowstorm walk through Central Park early one morning before sunrise. Brittany elegantly depicts the enveloping stillness and serene tranquility she felt as the first to wander the snowy path.

The most colorful time of day

Her favorite time of day is blue hour—just before sunrise or just after sunset—which lend itself to soft, magical light and quiet moments of introspection. She adds, “I love how a cool blue cast on a landscape can be juxtaposed with warm details from amber-tinted streetlamps or glowing windows of a farmhouse to invite the viewer in.”

My go-to color palette is filled with delicate pastels and dreamlike hues, as if viewing the world through rose-tinted glasses. My goal is to spark viewers’ imagination and sense of wonder, giving them a glimpse into a whimsical world where reality blurs with fantasy.

Seeing with a painter’s eye

Brittany’s background is in the arts. From picking up her first Nikon camera in high school and falling in love with the darkroom process to studying fine art in college and experimenting which shaped her own artistic identity. She turned to producing videos for music festivals in her early 20s, eventually shifting gears into television editing. “I settled into a world where storytelling reigns supreme over visuals but found myself craving an outlet to express myself more creatively. Today, through my personal photography and video projects, I enjoy the freedom to explore my artistic vision without constraints,” she explains.

Brittany says, “as a classically trained painter, I’m inspired by the dramatic lighting of painters like Caravaggio and Turner, and the dreamy impressionism and pastel tones of Monet.” Because of this, she’ll construct a scene through her lens as if it’s an (almost) empty canvas and making choices on how to compose and frame based on how she’d paint the scene.

Brittany Kunkel photo of a B&W landscape in Norway with water in the foreground and dramatic clouds in the sky — Skagsanden Beach, Norway. Brittany rarely takes or edits a black & white photo, but when she stepped foot onto this beach, she knew it was screaming for the Nikon Z f’s black & white mode, which helped to emphasize contrast in the natural patterns of the landscape, adding more drama to the scene.

I seek out light sources and shadows and reposition myself to paint with that light in order to create the right emphasis on my subject. I utilize reflections to create depth and texture, and to add a bit of abstraction and a feeling of nostalgia. I survey the surrounding area for elements I can use to build an interesting frame that directs the eye in the same way I would with a paintbrush. I use natural lens flares and prisms/crystals to craft sparkle-like texture and add a layer of whimsy.

Framing can be a useful tool to lead the viewer’s eye through an image, setting the stage for the story to unfold. All sorts of objects can be framing elements: flowers, leaves, windows, etc. Brittany explains that framing builds layers of depth in an image, to help drive the narrative. “I always hope to make the viewer feel as if they’re experiencing the magic of a scene firsthand,” she says.

Brittany Kunkel photo of sea stacks in the ocean, with fog and a pink sky — Rialto Beach, Olympic Peninsula, WA. Just after sunset, the sky filled with cotton candy tones that perfectly complemented the soft ocean mist hovering above the crashing waves. The mist helped create separation between the sea stacks and the background.

Photographing changing seasons

Fall and winter are Brittany’s favorite seasons of the year to create her dreamscapes, as the colors lend themselves well to the mood and feeling she’s trying to convey.

I feel most inspired when the rest of the world settles into hibernation. The quiet lends itself beautifully to rare moments of peace and solitude in a world where that’s often hard to find. I’ve become addicted to the rush of chasing enchanting scenes of fleeting beauty—like the vibrant hues in changing leaves and falling snowflakes that seem to float in time.

I love the rich, inviting colors of fall just as much as the cool colors of winter. While it can be easy to see winter as dull and lifeless, the right light and weather can bring out surreal, almost otherworldly blue and purple tones.

Britttany Kunkel photo of trees in snow under the Northern Lights — Nordland, Norway. After a week of severe storms in the Lofoten Islands and only hours left until her flight home, Brittany was desperate for one last glimpse of the Northern Lights. She set out in blizzard conditions, trekked through thigh-high snow, and waited for a brief break in the falling snow. The effort and patience was well worth it in the end!

Conceptual Photography Portrait

Planet earth in 2.5 seconds

Post author By Diane Berkenfeld
Post date May 23, 2024

Anya Anti image of a girl holding a melting earth symbolizing global warming

A photography project by Anya Anti

Anya Anti photo of a girl with a melting globe of earth in her hands, symbolizing global warming — **GLOBAL WARMING**
“The world is getting warmer. Global warming is the gradual heating of the Earth’s surface, oceans and atmosphere. It is caused by human activity such as burning fossil fuels. Since the Industrial Revolution, the global average surface temperature has increased by more than 0.9 degrees Celsius. The rapid rise in greenhouse gases is a problem because it’s changing the climate faster than most living things can adapt to. A more unpredictable climate poses new challenges to all life,” explains Anya.

Conceptual photographer Anya Anti spent three years working on her 2.5 seconds project, from the concept stage and sourcing props, identifying locations across Iceland for the shoots, and post-production work. We asked her to share some of the images from the project as well as explaining some of her goals for the project and how she came up with the ideas and crafted the final images.

Anya’s team for this project consisted of a model, an assistant and Anya’s husband who acted as both assistant and BTS filmmaker. She and her team spent 10 days driving across Iceland, shooting in carefully researched locations, chosen specifically for each concept.

Anya Anti photo of a girl holding a globe in a plastic bag symbolizing greenhouse gases — **GREENHOUSE GASES**
“Greenhouse gases trap heat in the atmosphere and cause the greenhouse effect on planets. The danger lies in the rapid increase of these gases that intensify the greenhouse effect. These gases absorb solar energy and keep heat close to Earth’s surface, rather than letting it escape into space. By disrupting the atmospheric balance that keeps the climate stable, we are now seeing extreme effects around the globe including extreme weather events, shifting wildlife populations and habitats, rising seas, food supply disruptions, increased wildfires and a range of other impacts,” Anya explains.

Q: What does the project’s title 2.5 seconds mean?

A: “Planet Earth is 4.5 billion years old. Mankind is about 140 thousand years old. If we compress the Earth’s existence into a normal full day of 24 hours, then we’ve been on this planet for… 2.5 seconds. I used “2.5 seconds” as a title because I wanted to invoke the power of numbers and perspective to create a strong, straightforward and shocking effect.“

Q: What was your ultimate goal for the project?

A: “I hope to bring awareness about climate change, to spark conversations about the issue and to educate more people about the facts, the urgency of the crisis and the seriousness of its consequences. The project is a series of photographs that highlight the environmental crisis through metaphors and symbolism. Each one of them illustrates and represents a specific environmental issue using allegorical figures and subjects, props, costumes and natural landscapes. I hope my art will be louder and clearer than words.

The subjects either represent a part of nature that is being impacted by these issues or a collective human who is witnessing and experiencing the effects. I used body sympathetic language and sad/anxious facial expressions to convey the horror, despair, and seriousness of the issue.“

Anya Anti photo symbolizing pollution as part of her 2.5 seconds project — **POLLUTION**
“Air pollution poses a major threat to health and climate. Increasing temperatures are directly linked to poor air quality which, in turn, can affect the heart and exacerbate cardiovascular disease,” explains Anya.

Conceptualization

Q: How long did it take you to complete the project?

A: “Three years total. A year of preproduction, doing research, developing the concepts for the images and fundraising. Another year was spent building and sourcing props, getting a team together and traveling to Iceland for a 10-day trip to complete the initial photography. Once the images were captured, a third year was spent selecting images and editing to create the final images for the project.“

Anya Anti photo symbolizing plastic pollution showing a girl on a beach with a jellyfish made of plastics — **PLASTIC POLLUTION**
“We’re surrounded by plastic. While it has many valuable uses, humans have become addicted to single-use or disposable plastic — leading to severe environmental consequences.

An estimated 8 million tons of this plastic waste enters the Ocean every year. Not one square mile of surface ocean anywhere on earth is free of plastic pollution.

Plastic can take up to 450 years to decompose and it doesn’t biodegrade but breaks down into tiny particles known as microplastics leading to chemical contamination of the water and fish we eat. Microplastics are eaten by small marine animals and so enter the food chain ending up in human bodies!

Plastic pollution has a direct and deadly effect on wildlife, particularly marine animals. Thousands of seabirds and sea turtles, seals and other marine mammals are killed each year after ingesting plastic waste, poisoning through exposure to chemicals within plastics or getting entangled in it,” explains Anya.

“Iceland offers a broad variety of different landscapes that were able to accommodate all of my ideas and become a vital part of the storytelling,” Anya explained. “For the “Deforestation” image I used the lava moss location to blend my subject with nature and create a sense of unity. The “Greenhouse gases” image I photographed specifically at Hverir, which is a geothermal spot in Iceland full of hot sulfuric gas—this helped symbolizes greenhouse gases.”

In the image “Greenhouse gases” she holds the planet inside a plastic bag, which is a metaphor for the greenhouse gases which create the greenhouse effect and the warming of the planet just like a plastic bag would do.

For the “Deforestation” image, she took a second-hand ball gown and crafted it to look as if it was made of moss to represent flora and forests. “I created a brown burnt dead patch on the dress along with some hot charcoals to represent wildfires and the destruction of the forest,” she adds.

For the “Plastic Pollution image” she used a clear transparent umbrella and donated recycled single-use plastic items along with making a jellyfish prop. “The jellyfish is made of single-use plastic items to symbolize the marine life that is gravely affected by ocean plastic pollution,” Anya adds.

For the “Global Warming” and “Pollution” concepts Anya commissioned an artist to make the props for the shoot. The “Global Warming” images uses a prop designed to look like a melting planet. The mask tank prop for “Pollution” was built out of the plastic fish tank and a real oxygen mask, with straps attached to be able to wear it as a backpack. She adds, “the little plant inside the gas tank symbolizing the only fresh air source.”

Anya Anti photo of a girl in a dress made of moss, among mossy rocks symbolizing deforestation — **DEFORESTATION**
“Forests cover more than 30% of the Earth’s land surface and help purify water and air. They’re home to 80% of terrestrial biodiversity. Forests also play a critical role in mitigating climate change because they absorb carbon dioxide produced by human activity that would otherwise contribute to ongoing changes of climate. But forests around the world are under threat from deforestation and forest degradation due to agriculture and grazing of livestock, mining and drilling, illegal logging and wildfires. Deforestation is the second-leading cause of climate change,” explains Anya.

Q: Is the 2.5 seconds project complete at this point or do you think you might add to it in the future?

A: “The project features 8 illustrated environmental issues and consists of 13 images in total. It feels quite complete and can stand on its own. I’ve touched on all the major climate change issues that I wanted to. However, I feel like I’m not ready to end this chapter in my creative journey yet. I want to keep creating more eco-themed and environmental art, continue the conversation with my audience and explore new ideas. I’m not sure yet if they will be a part of the project or separate pieces. But I already have more photographs in progress. So stay tuned!“

How-To Video

Bringing a Scene to Life with Slow Motion

Post author By Diane Berkenfeld
Post date May 17, 2024

By Mike Mezeul II

Shooting in slow motion is a fantastic way for a videographer to bring a scene to life. From adding drama, conveying emotion, creating depth, revealing detail, and more, utilizing slow motion is a technique that you should consider for your next film project. But is it as easy as it sounds? Just simply shoot slow-motion? Well yes and no. There are definitely a few things that you should take mental note of for settings within your camera, the gear you’ll need, and your vision for the scene.

Before we get going though, let’s quickly understand what slow motion is. Slow motion is essentially the slowing down of a moment in time so that the action appears slower than in real life. This can be accomplished by either filming the moment in slow-motion or using a playback method to slow down the moment. For this article, we will aim to discuss how to film the moment in slow motion and then how to complete the process in post-processing.

Frames Per Second

Understanding frames per second (fps) is key to understanding how to shoot video. Most videos are shot at either 24fps or 30fps. This means that essentially (i.e. 30fps), it takes 30 single images shot in succession to make up one second of video. A good metaphor to this is thinking about a flip book. As you flip through it, it creates motion, the same technique applies for video. The more images you can capture to create a higher frame rate, the more you can slow down your video in post. It’s extremely important to know that you really want to aim to get your frame rates correct while shooting. You can technically slow down video that does not have a high frame rate in post-processing, but the video will look choppy and won’t present itself well. Starting at 60fps, you can begin slowing down motion. At 60fps, you can slow a video down by 50%. At 120fps, you can slow video down to 25% of its original motion on a 30fps timeline.

Setting FPS & Shutter Speed

When going through your “Video Recording Menu”, scroll down to “Frame size/frame rate” and click “OK.” It is in this menu where you can choose to shoot from 24fps to 120fps. Both the Z 9 and Z 8 camera bodies have the capability of shooting up to 8k 60fps and 4k 120fps.

For your shutter speed, you’ll want to try and keep your settings to nearly double that of your desired fps. For example, if you’re shooting at 120fps, you will want to aim to have your shutter speed close to 1/240 second. For scenes that are shot at 60fps, you will want to aim for 1/120 second. Now you don’t have to be exactly precise with doubling the fps, but the closer you can get to that, the smoother and sharper your slow motion will be.

Gear You May Need

Tripod or Gimbal – The goal with slow motion is to create a captivating moment that draws your audience into the scene. Having a shaky video doesn’t necessarily achieve that as the slower the motion, the more noticeable camera shake becomes. Try your best to utilize a tripod, monopod, or gimbal for shots.

Neutral Density Filter – A three or six stop neutral density filter is a great tool to have handy if you’re shooting in an extremely bright environment. This will allow you to easily cut out “x” amount of stops of light to reach your desired shutter speeds.

Additional Lighting – With faster frame rates, less light will pass through your shutter, so contrary to the tip above, you will need a way to light your subject if in a dark environment.

Fagradalsfjall volcano lava crusting over, photo by Mike Mezeul II — Cooling lava from the Fagradalsfjall volcano.

Choosing the Right Scene

Not all scenes are created equally, so thus not all scenes require slow motion. When trying to decide what fps you should use, first ask yourself what the moment is showing you. For example, scenes where you are trying to show the raw sensation of an athlete winning a championship (emotion), fountains of lava shooting up into the air (detail), or gigantic waves crashing along the shoreline (power), a 60fps or 120fps frame rate may be perfect to slow the scene and allow your audience to really indulge in it. When it comes to capturing small movements like the wings of a hummingbird fluttering away or extending the drama of a rather quick scene like a raindrop falling into a puddle, slow motion can be a wonderful way to document these moments as well. The key words here are “slow motion”, so if there isn’t much motion within the scene in the first place, there is no point in slowing it down.

Editing

Once you’ve shot your footage you won’t be able to see the video playback as slow motion in-camera. You’ll need to take your media into an editing program like DaVinci Resolve, Adobe After Effects or Apple Final Cut Pro to just name a few. Here you will be able to retime your footage to your desired speed, color grade it, and sync it to music.

Bonus Tip!

Shooting high fps scenes results in large file sizes, so make sure you have a large capacity CFexpress or SD Card that can handle the files and the required read/write speed.

Photographic Portrait

Taking Creative Chances

Post author By Diane Berkenfeld
Post date May 17, 2024

Inari Washington photo of a model against a translucent background blurring the scene in the far background — Using the translucent plastic background blurs the scene behind the model while adding texture and movement for a unique look.

Inari Briana had saved a “look” on her Pinterest board years back of a background look that piqued her interest. While setting up a recent shoot with the Nikon Z f mirrorless camera, she decided it was the ideal background for the location.

I wanted to try something new regarding my own style of work. I’ve always wanted to branch out and use other types of backdrops rather than the typical colored paper or textured cloth.

Inari had to figure out how to replicate the look she was after, since the original image she’d seen didn’t have an explanation as to how it was executed. She used a translucent sheet of plastic material clipped onto a backdrop stand to intentionally blur and soften the background behind the model.

Inari Washington photo of a model standing in an off white outfit in front of a translucent backdrop — The movement of the backdrop mimics the movement by the model’s pose while at the same time letting the location show through.

She explained, “I wanted to utilize the colors of my surroundings but only to a certain degree,” adding “I think the barn seeping in the background helped set the tone for the entire photo.”

Inari made images that had the translucent plastic material completely covering the scenery behind the model as well as images with a distinct edge, showing part of the altered background mixed with part of the real-life scene.

Inari Washington photo of a model standing in front of a translucent backdrop with a farmhouse in the distance — In this image, the translucent backdrop doesn’t quite cover the scene in the background, leaving a distinct juxtaposition/contrast of a portion of the sky.

In the image that the translucent material completely softens the background Inari explains, “Something about the edges not being there felt cinematic to me. Felt like we were in an entirely new space.” She went on, “The photos showing the edges (above) were unintended to be honest but brought a certain charm to the image. Because of the plastic, it felt like it was blending into the sky like a drawing.”

Upon sharing these images on her social channels, Inari was surprised when she received mixed feedback. “You don’t need to understand what’s going on in the image to appreciate it and that’s okay,” Inari says. “At the end of the day, I am very proud of my images and it spoke volumes to so many people, especially me as a photographer,” she concludes.