Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher: Blog

Christians don’t vote for your persecutors

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 22 Oct 2020 13:37:56 GMT

I just know I can’t vote for my persecutors, nor can I stay silent while others do. Come on Christians. I love you regardless. But dig into this. Incidents suppressing and punishing Christianity aren’t radical or isolated. They’re widespread and becoming legally protected.

https://www.christianpost.com/voices/will-christians-become-outcasts-at-public-universities.html

Why you should vote if you don’t like either candidate

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 22 Oct 2020 02:03:22 GMT

A long version of what I’ve said, plus confirmation this you should think about avoiding third party votes (essentially the same as not voting) and instead vote for one of the two primary candidates.

https://www.christianpost.com/voices/christian-voting-myth-dont-like-candidates-whats-the-point.html

Biden Email Article Links

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sun, 18 Oct 2020 14:58:44 GMT

Nobody needs Faceblock to publish.

https://www.foxnews.com/politics/hunter-biden-emails-senate-homeland-security-committee-investigating-hard-drive-laptop

https://nypost.com/2020/10/15/emails-reveal-how-hunter-biden-tried-to-cash-in-big-with-chinese-firm/

https://nypost.com/2020/10/14/hunter-biden-emails-show-leveraging-connections-with-dad-to-boost-burisma-pay/

https://www.foxnews.com/politics/rudy-giuliani-hunter-biden-emails-hard-drive

How not to DIY your own wedding album - Milwaukee wedding photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 12 Jun 2017 14:21:14 GMT

Kind of on the fence about getting a wedding album? The Knot’s “How to Make a Wedding Photo Album” article (link) lays out the best reasons NOT to make your own, and it doesn't even know it.

For example when The Knot talks about selecting types of albums, it suggest checking with your photographer. Wait, I thought this was DIY. :-o Involving the photographer defeats the purpose, especially if you were adamant in the beginning that you didn't think the help was worth it.

Then TK suggests maybe a magazine style coffee table book would be good. Those are softcover books with thick textbook-like pages at best, which means they're prone to bends and rips and not an ideal choice for a family heirloom that will stand up to real life.

Some press-style books use a cheap printing process that leaves you see the dots in the image if you look closely enough. You want a true photographic print album. Don’t know how to tell? Don’t worry, all my albums are true photographic albums.

According to the Knot itself, it takes an average of 6 hours just to give the proofs an initial pass and select 20-30 favorites. I thought you were busy. Now you’re ready to lay 6 hours of your life to waste?

Also, only 20-30 images? My clients get albums upward of 80-100 on average. So instead of one Saturday that you can't go out and have fun, might as well make it three or four weekends shot picking out pictures.

"Not interested in an album?" The Knot recommends paying for a bunch of services to design slideshows, collages and albums from your digital files later. Hmmm... further investment. DIYdn't you want to avoid that?

I guess The Knot's advice doesn't save you much anyway. It'll just defer the work and dollars to third-party machines and strangers who had no vested interest in your wedding to begin with and weren’t there to know your story.

"Now the fun part: putting it in order." I’m sure album layout ranks right up there with girls night out. Difficulty and time cost of album layout is the exact reason photographers don't offer albums. It has nothing to do with keeping price down. They want the extra money, but even they can't figure it out, and some of them describe themselves as professionals. How will you figure it out if the "professional" can't, and why should you have to?

The Knot suggests laying out physical proof prints. That's great, if it's 1980. But how much room and time do you need for that in addition to the 6-24 hours you spent selecting the pictures, X hours and dollars making the proof prints, X hours trying to figure out where to get an album and which kind/material?

And don't forget you have to get all the picks in one place, upload them and use a clunky Web interface with limited capabilities to translate your layout into a lab-ready design, which The Knot doesn't tell you.

TK attempts to navigate the nuances of telling your story, taking you through a dizzying array of decisions like ratios of details to people, color to B&W, etc., which is exhausting just to summarize, let alone slog through on your own without proper tools, experience or time.

And the best part of the process? You're on your own. Nobody will be there to help you because you told your photographer the help wasn't worth it.

I don’t know about other photographers, but my clients did nothing to deserve having to complete my job for me. If you had to slice your own pizza at a restaurant, you’d complain about your $7/hr waitress. Even the cheapest photographers are charging $50-$100 per hour for you to complete their work while making it seem like a deal.

Further, TK advises you to "weed out the bad pictures." That's another job you're doing for the photographer. And what if someone's blinking in every group shot? Who's going to Photoshop the eyes open or swap the heads? In fact, who's going to do all of the retouching for all of your images?

I retouch every page of my clients' albums, including blinks, head swaps, distraction removal, skin smoothing, stray hair, temporary blemishes -- all that for sometimes 70+ images in one album at no extra charge, if you order from me.

My wife and I were like so many couples who wanted to live the dream of printing our own pictures and saving money, but in the end it became just another chore that got put off. It doesn't work, and we wished we would have gotten it done professionally right away.

For context, in 2009 we'd paid a full $1,500 for an 8-hour, digital-only package, with one pre-wedding meeting and no reveal party. Our own DIY slip-in album is still totally empty. Heather really wanted to fill it. And for months we thought about it, then years, but it just never happened.

The thought of tackling all those files and the whole process I've outlined became so daunting we didn't want to think about it. So we let it fade into the past, which is all the more reason to have your photographer do it correctly now so you never have to think about it again.

Eventually, once I became a wedding photographer and understood albums, I was able to make a quality album using a professional lab, but that was several years after the wedding, and even at wholesale prices it cost hundreds.

You don't need to make something yourself to be proud of it, nor will you lose your indie spirit by choosing to have a professional do it for you. Treat yourself. What's more independent than enjoying a vacation while a professional does the stupid stuff for you?

It takes me about 4 weeks to design your complete album as a story, with the slideshow and the galleries, and have it ready for you to see at your own private reveal party. It will take some extra time to retouch, produce and ship the album, but none of that requires work or additional cost from you.

Inevitably, someone will say "yeah, but we made our own album in a few weeks and it was great and cost a fraction of a professional one."

Okay, but ask for context: What exactly did it cost in dollars and time? Was it a cheap piece of crap from Shutterfly? Are the pages rigid and durable? Is the quality really the same (albums from China look good but quickly peel, curl and deteriorate)? Did they have help from another professional acquaintance?

And if they really, really did it fast, easy and at low cost and are happy with it, all they've accomplished is turning a family heirloom into a cheap souvenir.

Really, for the measly few hundred bucks it may -- or may not -- add to your budget on average, isn’t the one thing that will connect you to your wedding moments and family forever — and your sanity alone — worth having your photographer do for you?

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Milwaukee wedding photographer who'll protect and honor the love, romance and beauty of your wedding forever. Contact me today so I can serve the aesthetic and historical significance of your wedding.

How to Verify Your Wedding Vendors' Pictures

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 24 Apr 2017 15:31:04 GMT

Even though as a Wisconsin wedding photographer I believe in showing a good portfolio, I advocate to all couples that a simple collection of highlight images isn't enough to hire a wedding vendor. It's too easy in the 21st century to steal images, put up a fake website over night and start collecting checks from clients, and there are thousands of documented cases of these scams.

Anyone -- photographer, florist, uplighting, caterer, planner -- asking for your investment should be able to produce credible examples of her own work, whether a third-party's pictures used with permission (for non-photographers) or her own pictures.

I'm going to teach you how to identify probable sources of images so you can decide if the person you're researching is worth your investment.

Use Google Images

Right-click the suspect image and copy the image's address or URL.
Open a new tab and type "images.google.com" into your address bar and press "Go."
Click the camera icon in the Google Images search bar and click the "Paste Image URL" tab.
Press Ctrl+V to past the URL, or right-click and click "Paste."
Press "Go" or "Enter" to search for the image.
Review the results and note any sources of the image other than the one you got the URL from.

Analyzing Results

If you find an image used elsewhere, it's probably stolen, but there are some other possible explanations.

Stock images

The person may have legally purchased the image from a stock company, in which case he has permission to use the image, maybe even commercially. But does that represent their own work, and why don't they have real images of their actual work? If they're charging you money to provide something for your wedding, demand to see real examples of their work, not stock images anyone can download.

Images provided by other vendors

Vendors who don't normally take pictures, like florists or caterers, may be using images that other photographers or parties have taken of their work. This is OK as long as they have permission, but the wedding industry and especially photographers frown on the use of third-party images without permission.

Stolen images

Often, a vendor simply steals images without permission or credit to represent her own work. This happens not just with photographers but DJs, florists and almost any vendor category. They steal the work of a professional, put up a free website with some generic text and try to book clients. If someone has stolen images, they're likely running a scam and you should avoid them especially when there are plenty of professionals who don't need to steal to earn your business.

Other ways to check photographers

Thin portfolios

Some photographers use duplicates of the same images cropped differently to make it appear as if they have more images than they actually do. Before hiring a photographer, always ask to see at least two complete wedding galleries or albums so you know the precise level quality and consistency you're getting for your hard-earned money.

There are no excuses. If they don't have enough weddings to give you a juicy sample, what have they been doing as a photographer? More importantly, what have they been doing with everyone's money, and how will they treat yours?

The goal is to know what you're getting and be comfortable with it -- beginner or expert -- which is difficult to do without a portfolio that's fleshed out.

The website Stop Stealing Photos

Stop Stealing Photos is a blog dedicated to exposing image thieves. It compares source images to stolen images and documents the infringement. You can also report someone to Stop Stealing Photos but it's easier to do via the Facebook page Photo Stealers. Search for your vendor by name. The site rarely lists other vendor categories, however.

Ask challenging questions

If someone is asking a professional fee to perform services at your wedding, you have the right to ask challenging questions that test their experience, knowledge and ability to perform. Ask about how they photograph in challenging light and get examples if possible. Ask about their process, training, procedures, which are all second nature to professionals, even an obsession, but vague for the inexperienced and scammers.

Always ask to see at least two complete wedding galleries or albums, not slideshows as those are only highlights. Anyone can take a few decent shots at a wedding, but a galleries or albums will give you a good idea of a photographer's consistency and quality throughout the entire day across multiple weddings.

Ask to see your photographer's Wisconsin tax registration certificate. Photography is a taxable service in Wisconsin and photographers are required by law to charge and collect sales tax. If your photographer doesn't have a certificate, she's not a business.

Again, the goal is to know what and whom you're getting and be comfortable with it, and avoid scammers and cheaters. If you know you're getting an inexperienced hobbyist who may not meet expectations, there's nothing wrong with that. But if you just assume all photographers are qualified and get the cheapest one, you, like thousands of brides each year in Wisconsin alone, may not get what you intended.

Wisconsin Circuit Court Access

It's amazing how much trust couples place in random people that about 80 percent of the time they found online. Check Wisconsin Circuit Court Access for all the names of the people involved in your wedding vendor's business. With larger companies with a physical retail presence, this may not be as much of a concern, but it never hurts to check. It's rare that anyone scams couples only once. WCCA will tell you if a person has a history of judgements against them. Also check the BBB.

What to do if you verify someone's photos are stolen

Report the stolen images to the original photographer if possible and use your best judgement in hiring a vendor. Any vendor who's asking you to pay professional prices for services should be able to provide many examples of their own work, not images they've stolen, purchased or used without permission or credit.

Any dishonest use of images, dismissive behavior (not answering calls or emails/not responding to requests), or anything that feels unprofessional should be taken as a full indication of what you can expect on and after your wedding day.

Remember, there are no regulations on who can be a florist, videographer, DJ, caterer, photographer or planner, and your only recourse is with the vendor or small claims court. It's your job to vet your vendors thoroughly.

How to care for your wedding photography album - Milwaukee wedding photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 10 Jan 2017 18:00:00 GMT

D700 So you've decided to protect your wedding photography by getting an album. Wise choice! Here's how you can give your album the longest life.

Storage: Your album is made of the finest materials and techniques (if you got it from Joel Nisleit Photography) and meant to be enjoyed and displayed. Feel free to keep it on a book shelf, coffee table or other prominent place. However, don't keep it where the sun will bake it. UV light damages fabrics and colors over time.

The best environment for a photo album is an air conditioned place at typical room temperature. Avoid placing it near vents, humid environments or where the temperature will change drastically.

The best way to store your album is in a custom designer case from Joel Nisleit Photography, which is made to support the pages and spine. Your book will come in a natural box and tissue paper, but the custom case is recommended because it's more stylish, slim and presentable for display.

If you don't have a custom case from Joel Nisleit Photography, it's best to store the album flat in a protective box, or straight upright on a shelf, not leaned.
Fingerprints: Never, ever put any liquid on the album or its pages. Fingerprints are best cleaned immediately with a dry microfiber cloth and feather-light pressure. Rub in a circular motion. Don't press hard or rub too long, or you could rub off the finish of the photo.
Spills: No album page is completely waterproof. It's up to you to avoid spills, so avoid placing the album near where you're eating or setting a drink. If you spill on a page, dab it with a microfiber until dry, but avoid spreading the spill.
Use good sense (there's no such thing as common sense). Avoid handling the album with greasy hands or in dirty environments, taking it out in the elements, etc. Always treat it like a priceless family heirloom because it is.
Repair: If any pages become damaged, Joel Nisleit Photography will repair your album for a fee, but only a maximum of three pages can be replaced in a book. The lab determines that restriction. If you would like, you may also order mini companion albums for backup or parent gifts.
Show it off! It deserves to be shown as much as it's cared for, so let all your friends and family see it, and every now and then relive your own romantic fairy tale.

With proper care, albums from Joel Nisleit Photography are made to last a few hundred years if not more! They're really good stuff. :)

Check out a real client album from Joel Nisleit Photography!

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Milwaukee, Wisconsin wedding photographer who'll create images that do justice to all the life, love and romance of your wedding day and protect it in print forever. Contact Joel today.

Milwaukee Brides, Are You a Prisoner of Your Own Wedding?

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 06 Jan 2017 19:33:59 GMT

I love it when brides who've been there come out and trash their own pre-wedding thinking, especially when it comes to all the stuff they thought would save them time and money but didn't.

It's great to DIY some stuff, but what's easy and cheap on paper can quickly become a trap for all your time and money leading to a wedding that's more frustrating than freeing.

Keep your DIY goals short, real and important. Leave the rest to the pros.

How To Create A Perfect (For You) Wedding Budget

In Defense Of David's Bridal Wedding Dresses - A Practical Wedding

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Milwaukee, Wisconsin wedding photographer who helps brides stay connected to the love, romance and beauty of day their marriage began. Contact me today.

What is your wedding photographer really preserving?

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sat, 03 Dec 2016 22:46:59 GMT

joelnisleitphotography.com I used to believe that as a wedding photographer I was preserving history. Now when I hear photographers talk about "preserving" and "capturing," I'm reminded of pickles in a jar or specimens in a lab.

Who wants to invest in pickles and lab specimens for their wedding? (For those of you raising your hands, knock it off. I'm making a point here!)

Preservation is for mason jars. Capturing is for traps.

So, does that mean I don't believe in preserving history? No. It means I'm doing something more.

I'm a wedding photographer, and my job is to protect -- not preserve, and not capture.

Let's start with what happens when you hire me; I place you under my protection. That means I not only have a plan for great photography but I've got a system for making it happen.

I protect you with information -- meeting with you, showing you complete albums so that whatever decision you make is with confidence.

For example, brides have a lot of questions about whether their venues or locations are good for photography and what challenges there might be, what kind of timeline they need, and of course I can answer that.

I protect you by being honest about what will give you the results you want and what won't. For example, I can't do 2 hours worth of pictures in 1 hour, but what I do in that hour will be my best.

I also shield you, like on the wedding day. Bad light? You'll never know in the pictures. Cluttered room, distractions everywhere? Not in my albums.

I also protect that which is vital, that which is worth hanging onto.

What about the sudden urge to smile or remember out loud, perhaps a reminder of your heritage, what's worth hanging onto? Those are things photography helps bring to life.

A photo can spark a feeling of electricity or warmth in your chest, a daydream, a conversation, a story, the holding of your spouse's hand.

Those aren't preserves in a jar or album. Those are pursuits of life.

And all of this means I protect your investment because that's what this is -- something meant to grow and reward you.

There's more to finding a photographer than lining up a grocery list of stuff.

I'm not perfect, and I'm not even saying you need wedding photography to live because you don't. But look at my work and decide if I've protected anything worth hanging onto.

And then please let me know if you'd like me to do it for you.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Milwaukee, Wisconsin wedding photographer protecting that which would otherwise be gone after your wedding day. Contact Joel today.

West Bend Wedding Ceremony at Riveredge Nature Center, Chris + Ashley

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 16 Sep 2016 20:00:00 GMT

Chris and Ashley's wedding ceremony at Riveredge Nature Center in West Bend, Wisconsin took barely 10 minutes, but it sure was beautiful and even more intimate for the brevity.

After eyeing up two main locations for the ceremony, they chose a third, and it was perfect -- a beautiful backdrop of nature and a beautiful lawn under a tree for guests. Riveredge Nature Center offers a few spots for your ceremony, however.

They're really enjoying this walk against such a fairy tale backdrop for Ashley's natural theme.

Ashley's proud mother walks her down the aisle with such excitement.

Chris' father performing the ceremony gave it just the right personal touch. No need for anything elaborate. Just close family and friends. It's about a commitment to love after all. :)

It was literally 10 minutes from the time Chris walked down the aisle to the time he walked out with Ashley, meaning the ceremony itself was only a few minutes. Wow!

The speedy ritual meant I was frantically moving around like a bumble bee from flower to flower trying to capture different moments and different angles. This is one of the times I have to be a photojournalist.

Look at those beaming smiles! Ashley and Chris were giddy as two school kids, so happy to take their first steps as husband and wife. I'm honored to have been a part of it.

For only a few minutes to tell the story, I think I did well and they'll be able to cherish the big moments.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit helps people from all walks of life who would like their wedding photographed as a fairy tale instead of a documentary. Contact me today so I can serve the aesthetic and historical significance of your wedding.

Giving Back in a Small Way as a Milwaukee Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 12 Sep 2016 20:30:00 GMT

A portion of each custom flash drive I order automatically goes to benefit the Soul Society, which helps poor and orphaned children in third world countries. The people who provide the flash drives make the donation with the proceeds from purchases.

This is only one of many reasons I exclusively use these flash drives out of the hundreds of varieties available. The flash drives are high end and if we can help someone along the way, that's a good opportunity.

I also like that the drives use artificial animal skin -- faux gator and snake -- for a luxurious look and feel without the needless harvesting of animals.

To learn more about the Soul Society, please visit their website.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit photographs people from all walks of life who would like their wedding photographed as a fairy tale instead of a documentary. Contact me today so I can serve the aesthetic and historical significance of your wedding.

West Bend Wedding Bride's Preparations at Riveredge Nature Center - Ashley

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 08 Sep 2016 20:30:00 GMT

Ashley's bridal preparation portraits at Riveredge Nature Center in West Bend, Wisconsin are a perfect example of my mission to make great portraits regardless of location or conditions -- something that's worth every penny.

Bridal portraits took place in a small shed called the chicken coop. It's not a place for brides, just a place where the center stores stuff and apparently has some children's activities. With creative photography, it became a beautiful setting for intimate and fun wedding portraits.

Above I simply cover the maid of honor buttoning up the bride bringing in some light from the left. You can already see some of the detail of the dress.

As soon as I saw the standing floor mirror Ashley brought from home, my heart swelled with joy. I knew I had an element for some cool portraits. My assistant Jasmine held an Ice Light from the side.

Isn't Ashley glamorous? So beautiful and happy, what a precious moment now etched in her personal family history.

If I have time, I do like to photograph details off-figure, if the bride wants it. But you've seen those a hundred times, so instead below are some details with a heartbeat.

So you can guess what's more interesting: a shot of the purse by itself on a chair, or a shot of it in the bride's hands. I'm not putting together a catalog. I'm making personal history into a photographic story.

Above is an even more cool and artistic, high-key portrait of Ashley featuring her bridal comb. Of course, I have off-figure shots of the comb on a wooden chair, but I still think this is more likely to end up in the album than a catalog shot of an accessory.

What you don't see: My assistant and I moved some tables and chairs out of the way so we had some clean backgrounds for portraits. I'm not afraid of anything that takes time.

And rest assured many documentarians wouldn't touch a scene for fear of "contaminating the purity of the photojournalism" (bleck).

The time taken making sure I have clean backgrounds and good light pays off in spades especially when the location to begin with offers next to nothing for portrait opportunities.

Photojournalism, schmotojournalism. I'd rather fix the image before it goes into the camera, not after.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Hampton Inn & Suites West Bend Wedding Groom's Coverage Continued | Photographer Joel Nisleit

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 07 Sep 2016 20:30:00 GMT

Picking up my groom coverage of Chris at Hampton Inn & Suites in West Bend, Wisconsin, here are a few more shots of him dressing and thoughts behind the shots.

What I'm doing with these "detail" shots is incorporating the person in a natural way so it's not just a shot of the suit hanging against a wall, or a dress in front of a window.

By putting Chris in the picture and letting him pick up and brush the suit, it's so much more interesting than "Here's the suit draped over a chair, again."

When I photograph, I'm conscious that every portrait I make is someone important looking at his future self.

It's not just Chris. It's Chris looking at Chris 30 years from now. It's looking at Ashley 30 years from now, so when they look back at these portraits, they connect with that moment of youth, love and beauty that may have been forgotten or put aside.

Now as to whether these are candid or directed, well, Chris is going to put on the jacket at some point, right? The answer is I just make sure it looks as cool as I can make it in the time and conditions I have, in whatever way works best for the shot.

One of the things most pretentious with wedding photographers is this notion that if a shot is staged, coached, directed or posed, it automatically becomes undesirable and that spontaneous moments are the only desirable portraits.

This isn't the New York Times or World War I documentation. It's wedding photography. Play a little and have fun with it.

In some ways I think being bound to pure photojournalism is more restrictive than being open to lighting and direction.

My approach to photography is start the needle at zero and move it whatever way is best for the picture: sometimes direction, and sometimes letting the action flow naturally, rather than being bound to one end of the spectrum or the other.

I'm a wedding photographer and all approaches are fair in my mission of representing a romantic ideal. I'd already photographed enough reality as a newspaper photojournalist.

And for the record, none of the images on this page have seen pixel manipulation other than cropping. They've only been color corrected, which is a process similar to developing a roll of film.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

I Photograph Moments. Wait, Doesn't Everyone? - Milwaukee Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 06 Sep 2016 17:07:01 GMT

Take a surf around the vast ocean of wedding photography -- national or local -- and you'll see a recurring theme: "We photograph moments. Like, no, really, we're the only ones."

It's like an NBA star saying, "Look, I made a basket!"

Is there a professional photographer at a wedding who's like, "Ah, yes, I've kept my camera down all day and finally nothing's happening, so I can start shooting."

Like, who's the competition, a stalker of nothing who waits for all the action to pass before pointing the camera at the floor and ripping 12 frames a second?

My point is, wedding photographers are supposed to capture moments. Particularly with the advent of 35mm and digital, it's easier than ever to simply document.

Anyone with a smartphone can snap a moment. Is that it?

It's not about moments vs. no moments, or spontaneity vs. design. Both are valid.

Let me ask a bigger question: Whom do you trust with your look? To solve problems? To help?

Consider the total value of a professional, from creating shots in boring or challenging conditions, creating looks others don't or can't see, to making the experience as easy as possible.

And professionals aren't perfect. The only photographers who don't miss moments are liars. We miss from time to time. But professionals get back up and keep fighting.

I love a good moment and think it's something families will fondly look back on, but the challenge is what else can I do, or how can I do it differently? And I love answering that question.

I'd love to hear your biggest photography questions and preferences. Leave a comment below or contact me.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Hampton Inn, West Bend Wedding Wedding - Groom Suits Up - Photographer Joel Nisleit

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sat, 03 Sep 2016 17:20:43 GMT

Chris & Ashley's day begins with Bruce Wayne suiting up at Hampton Inn and Suites in West Bend, Wisconsin.

Adjusting cuffs, collars and buttons is masculine stuff, so I normally treat it with dramatic light.

I take care to eliminate as much distraction and clutter as possible, regardless of location. This hotel room at Hampton Inn and Suites happened to be spacious with some clean walls and beautiful window light.

We moved a lamp, or it would've been in the background. I'm a stickler for stuff like that. So I'm always open about using direction when necessary.

One of my favorite quotes is from Cliff Mautner: "I used to be a photojournalist. Now I'm a wedding photographer."

It's a nod to the power of pure photojournalism with an understanding that we're not really at a wedding to document something new and breaking.

I'm hired to make my clients look stunning in random conditions with short amounts of time and create a story that reflects a romantic ideal. If you want hard and gritty, this isn't the place.

I usually begin by photographing any personal details, the only one of which this time was Chris' Batman socks.

After the socks and white shirt, it's on to the jacket and hero shots, followed by family portraits.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Why Does a Bride Have Bridesmaids? For Better Photos ;-) Milwaukee Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 02 Sep 2016 15:52:11 GMT

When I see a bride all prettied up with a veil or long dress, I think Cinderella. And I don't know why I think Cinderella because she didn't have maids. She was a maid, whose step sisters treated her like crap.

But Cinderella did have helpful fairy godmothers and birds who magically whipped together a stunning gown and made sure Cinderella was perfect, and I guess that's where my idea of people fussing over the bride comes from. Plus, it's something bridesmaids actually do.

So the backlighting is on purpose for a couple of reasons. One, it's easier than trying to light a group of people any other way. Direct sun causes dark, squinty eyes, and big lights take time to set up.

Second -- and this is the best one -- backlight emphasizes texture in translucent objects (like veils), plus it provides a dramatic pop against a dark background. That doesn't mean I always shoot a veil backlit. In fact, I try to incorporate the veil many different ways.

Many photographers use backlight to get flare in their images, either out of ignorance or on purpose in an attempt at something artistic of fashionable, but most of the flare I see is just classically bad photography that people will regret 20 years from now, so I avoid it when possible.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Devastatingly Romantic - at Villa Filomena, Milwaukee | Wedding Photographer Joel Nisleit

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 23 Aug 2016 21:50:07 GMT

Villa Filomena in Milwaukee offers boundless opportunities for great wedding portraits, and you have time for precious few, so one of my jobs is deciding how to maximize impact with what I have.

We made a few portraits on our way into the building, and just before they fluttered off to cocktail hour, I knew I had to make something with the etched glass window on the inside entrance doors.

It started with just the bride with light on her face, but then I realized I needed to make a silhouette of the couple.

Yes, mom, I know they're out of focus. Thank you!

I photographed the couple both in and out of focus, but it was this out of focus shot, one of maybe two, that conveyed more of the mood and romance I wanted, like you're looking in on the moment but aren't allowed to fully experience what the couple is.

It's one of those times where I look back and say "I'm glad I changed it up a bit." I don't always have that foresight or luxury. I'm not perfect.

Lighting was simple, probably an Ice Light to the right of the couple, if anything. This is also one of the few times I do any sort of conversion in post processing, as I thought color distracted from the mood.

Crafted with a Nikon D4, Nikkor 85 1.8 lens, exposure ISO 200, 1/125 @ f/4.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a classic, romantic Wisconsin wedding photographer with a flair for glam. Contact me today so I can serve the aesthetic and historical significance of your wedding.

Villa Filomena Milwaukee Wedding of Derek + Sara | Milwaukee Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 22 Jul 2016 22:46:49 GMT

"Classic," "big," "moments" are three words that describe Derek and Sara's Milwaukee, Wisconsin wedding at Villa Filomena July 2, captured.

A multi-talented artist herself, Sara did a lot for her own wedding, from fresh flower bouquets to two vocal performances at the reception.

Bride getting ready at Cathedral of St. John Milwaukee

There were a lot of highlights, including some gorgeous locations like the Knickerbocker on the Lake, Villa Filomena and Lake Park, but one of my favorite moments was when Sara, also a singer, closed the dance party with "The Last Dance." Tooooo many moments to possibly include here!

It was easy to see how much Derek and Sara love each other, and they'll have beautiful portraits of that to cherish.

Erin and Tina at Villa Filomena worked hard despite the heat to make sure everything ran well, and it did, from dinner to the live music provided by Noyz Boyz and Girlz, a peppy live band from Milwaukee. Chef Jack Catering provided the delicious meal.

I had so much fun at Derek & Sara’s wedding. Thanks so much for having me!

Vendors and professionals:

Venue: Villa Filomena
Entertainment: Noyz Boyz and Gyrlz

Catering/Food: Chef Jack's Catering

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a classic, romantic Wisconsin wedding photographer with a flair for glam. Contact me today so I can serve the aesthetic and historical significance of your wedding.

Client Flash Drive Unboxing Milwaukee Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 12 Jul 2016 21:05:16 GMT

See what a custom flash drive from Joel Nisleit Photography looks like and what makes it unique. Hint: It's more than the pictures and customization; it's where a portion of every purchase goes. Check it out at https://www.facebook.com/JoelNisleitPhotography/videos/1009082319211385/

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a classic, romantic Wisconsin wedding photographer with a flair for glam. Contact me today so I can serve the aesthetic and historical significance of your wedding.

Milwaukee Wisconsin Wedding Photographer: Shannon + Evan's Classic Hilton Wedding

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 26 May 2016 13:00:00 GMT

What was the perfect "solution" for Evan and Shannon's wedding at the Hilton Milwaukee, Wisconsin on April 30? Green of course!

Instead of a sand ceremony, the couple of scientists poured colored liquids into a jar, creating a new color symbolizing both of their contributions to a successful marriage.

Hilton Milwaukee wedding ceremony venueGetting married at the Hilton Milwaukee wedding venue.

Evan & Shannon's Ceremonywww.joelnisleitphotography.com
[email protected]

Anyone who looked at Shannon immediately knew she'd found "the dress." During one portrait at the Hilton, one of the bridesmaids commented that Shannon looked "like 20's glam." The lace details, the sequins, the beautiful train and the classic veil and earrings -- Shannon rocked it all the way!

Hilton Milwaukee bridal portraitsBride getting ready at Hilton Milwaukee, details of wedding dress, veil and flowers

Bridal preparations in the Juneau room were idyllic with lots of space, nearly-full-length windows, velvety tasseled curtains, sconces and a large mirror offering more chances for gorgeous wedding preparation photos than could possibly be made in one day.

Bridal preparationsBride getting ready in Hilton Milwaukee city center Juneau room, with flowers, wedding dress, veil, and bridesmaids dresses

Any groom would love getting ready in the Oak room, with its rich wood paneling, dramatic chandeliers, spaciousness and large windows. If you want dramatic wedding photography in Milwaukee, the Hilton is a dream.

Groom getting readyGroom getting ready at Hilton Milwaukee wedding venue, Wisconsin. Featuring black suits, bow ties, best man, groomsmen, chandelier

With a stop for wedding portraits at the Milwaukee Art Museum, the women showed off their deep blue, knee-length dresses covered in lace. The bouquets featured a fresh spring assortment of whites, pinks and purples.

Milwaukee art museum wedding picturesBridal party having fun at Hilton hotel and Milwaukee art museum, featuring bridesmaids, wedding party, groomsmen, flowers and dresses

Shannon, Evan and I knew early on we were a good fit because we all love The Walking Dead, Star Wars, Star Trek. From the TV show theme songs during their processional and first dance to the Periodic Table of Seating, it was a blast to be part of every minute and an experience I'll cherish.

To make them kiss at the reception, Shannon and Evan asked that you be able to name a famous scientist. The easiest choices were Tesla and Newton, the names of their dogs (who were the flower girl and ring bearer). Find a way to make "the kiss" a game for your guests.

Hilton Milwaukee wedding receptionHIlton Milwaukee wedding reception venue is featured, with cake from Canfora Bakery, Music Box entertainment, science and microscope table, head table and ring closeups

Best milwaukee cake bakersCanfora Bakery cake

I go all out for my clients, including the special effects shots. Shannon and Evan wanted the wedding party to be running from AT-ATs from Star Wars. We also made some light saber duel shots at night.

Star Wars Attacks!Cool Star Wars wedding party picture, Milwaukee, Wisconsin in front of Milwaukee Public Library.

The glamorous wedding aside, it was when I was getting my lights together and Shannon and Evan started playing with their light sabers like a couple of middle school kids and talking about how they would crush each other as Jedi or snipers that I got a glimpse of how great they are for each other.

Wisconsin wedding dances and wow portraitsBride and groom enjoy their wedding dances, bouquet toss and have fun creating some unique portraits featuring Star Wars light sabers and the opulent vintage interior of the Hilton Milwaukee.

Vintage glam wedding photographyBridal portrait at Hilton Milwaukee

The Hilton in Milwaukee is truly one of the best Wisconsin wedding venues for your ceremony and reception, with friendly and helpful staff. If you're looking for the best Milwaukee wedding DJ, videographer, officiant or baker, check out the vendors below.

I had so much fun at Shannon and Evan's wedding. Congratulations to this fantastic couple who are just perfect for each other. Thanks so much for having me as your wedding photographer!

Special thanks to the following vendors:

Venue: Hilton Milwaukee City Center
Minister: Rev. Jane Stewart
Coordinator: Maggie Fehring (Hilton)
Wedding DJ: Music Box Entertainment
Videographer: Langley Videography
Cake: Canfora Bakery
Hair and Makeup: Aveda Institute of Beauty and Wellness

Joel Nisleit with the bride and groomHilton Milwaukee Wisconsin wedding

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a classic, romantic Wisconsin wedding photographer making history through stories you'll love to pick up and experience long after the wedding. Chat with me today.

What Makes Beaver Dam Country Club an Awesome Wisconsin Wedding Venue

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 11 Apr 2016 18:55:05 GMT

Beaver Dam Country Club, located on the northern end of Beaver Dam in Dodge County, Wisconsin, has been a magical place for romantic wedding couples to host their receptions.

Entrance - Beaver Dam Country ClubImage by Joel Nisleit Photography

Maybe it's the beautiful golf course that becomes a playground for the dreamiest portraits. Maybe it's the spacious dining room and helpful service.

My favorite things about Beaver Dam Country Club start with the gorgeous views and photo opportunities the golf course affords, right in the back yard of your reception.

The staff is always friendly and helpful, providing golf carts for the wedding party to find the best spots for pictures.

Don't worry about time of day because the right photographer can find opportunities in any light with the diversity of the grounds.

Rustic Fence - Beaver Dam Country ClubImage by Joel Nisleit Photography

Inside you have a spacious dining area with optional divider for large or small parties. It features a large bar adjacent to a hardwood dance floor under a vaulted ceiling complete with a stage for your entertainment.

A decorative brick wall separate the foyer from the main dining/dance/bar area and provides an optional space for your cake and signing tables. There's no divider between the bar and dining area.

Dance Floor - Beaver Dam Country ClubImage by Joel Nisleit Photography

To see how Beaver Dam Country Club will fit your reception needs, contact Brenda at 920-885-6614 or [email protected].

Joel Nisleit Self PortraitWisconsin wedding photographer

Joel Nisleit is a Wisconsin wedding photographer who makes history - your history - crafting romantic stories with a classic glam core. Contact me today for the respect and results you deserve.

If You Don't Do This at a Bridal Show, You've Wasted Your Ticket

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sat, 19 Mar 2016 15:24:59 GMT

I don't blame you for filling that bridal show bag with every freebie you can get your hands on, even if you throw it all out the next day.

But what's the quality of the relationship you're getting from that bag? Where will your brochures and price sheets be when it's 2 minutes until you walk down the aisle?

Start relationships now.

My challenge to you is don't even take a bag.

What's the point of going? The same it's always been:

Set up meetings with the creative people who will make the biggest difference at your wedding.

Your wedding will be successful or not because of people, not because of discounts or brochures.

The best way to get to know the people who will make a difference is to set up a meeting with them, away from the hustle of the show.

Don't think of it as a sales consult; the best vendors won't.

Think of it as a chance to get away from the stress of thinking about everything in a vacuum, to get expert help, pick an expert's brain and form a decisive plan for your wedding.

Don't worry about missing offers. Whether you take a brochure or not, anyone offering a special will extend it to you if you meet with them.

Shows are also a golden opportunity to get answers right from the source. Use the time to ask hard questions and leave the no-brainer stuff like price and packages to the followup, which you will get.

Speaking of followup, if you set up meetings at the show, you'll easily know which followup contacts you'll want to respond to later and which to ignore.

The best way to see if you're a good fit and assemble your dream team is to meet face to face in a relaxed environment away from the show.

An outstanding vendor listens to what you want and then wants to see if you're a good fit as a team. His goal is to leave you in better shape than the last time you contacted him, whether you hire him or not.

So next time you go to a bridal show, forget the bag and bring a calendar. You'll make it much easier on yourself to find the right vendors if you focus on relationships, not brochures.

What have you liked or disliked about bridal shows? Leave a comment below and let me know!

Please share this with a friend. :)

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Wisconsin wedding photographer looking to tell a romantic story you'll want to showcase. Want more help? Contact me today and I'll be happy to help in your quest for dream wedding photography.

Lakeside Park Fond du Lac Fall Engagement Pictures of Brian + Melissa

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 05 Feb 2016 21:30:00 GMT

Fairy tales don't get any better than Brian and Melissa's fall engagement portraits at Lakeside Park Fond du Lac!

This day was a dream for anyone looking for fall engagement or wedding photography in Wisconsin, so all I had to do was take advantage of the wonderful spots the park had to offer.

There are so many ways to use the trees, bridge and river at Lakeside Park, I love doing something different every time I visit this park, and it's a popular spot for outdoor weddings, wedding portraits and engagements -- one of my favorites.

Brian and Melissa were such a joy to work with. They craved direction but were still so relaxed and easy going, a dream to photograph. They laughed and played along with everything I did, which usually led to even more laughter.

Melissa has referred to herself as someone who doesn't like to have pictures taken, but you wouldn't be able to tell by looking at them. We totally had a blast, as you can see, and they cherished their portraits so much, they had to get an album and a slideshow.

The wedding is June 11, 2016. Congratulations Brian and Melissa and thanks so much for having me be a part of these special moments in your life, and for making a commitment to having them captured beautifully and romantically.

Check Out Their Engagement Album!

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit makes romantic Wisconsin wedding photography a luxury experience you'll want to share. Want more? Contact me today and I'll be happy to help in your quest for dream wedding photography.

7 Dirty Secrets Every Bride Should Know About Digital Copies

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 12 Jan 2016 01:30:00 GMT

If you need digital copies from your wedding photographer, these 7 secrets can help you avoid a lot of confusion and hassle.

What every bride should know about digital files.

1. You don't "own" the files

Unless the photographer signed copyright ownership to you and registered the images in your name at the U.S. Copyright Office, you don't own the files and you have no natural rights to them.

Instead, you possess copies of the work, usually with a license to use them for personal purposes, like you do with a Blu-ray movie or iTunes song. Each photographer has different terms, so check with yours.

2. "Edited," "retouched" and "color corrected," oh my!

"Edited" and "retouched" are terms thrown around pretty loosely, so let's look at what they should mean. Standards vary per photographer.

Most photographers deliver wedding images in the form of digital (or print) proofs. A proof has been developed like film for proper exposure, color, contrast, cropping, sharpness and noise reduction -- but sometimes not developed at all.

By comparison, a retouched photo should be "wall ready" and goes beyond basic editing to skin retouching, distraction removal as well as artistic enhancements.

Find out what your photographer means by "edited" or "retouched" to be sure what you're getting.

3. If you want to lose your pictures, keep them digital

Have you ever seen a birth certificate? The reason they don't write those in sand or email you a copy is because it's important and people generally want to keep them for a while.

So why would your birth certificate be in print but your entire wedding and family history not?

I don't care if your parents own Shutterfly or you think you can save money. All of my collections include printed art and it's a requirement for hiring me because I care.

4. What's your license?

You need to show some sort of release from the photographer to make prints at stores, and even some online labs. They will ask. Some photographers' licenses block you from making prints at certain locations, or any location.

5. You don't want ownership

Realistically, the only wedding clients who obtain copyright ownership of the files are celebrities or high-profile clients who don't want anyone else to see or have the images and can afford to pay the photographer for ownership.

Getting copyright ownership means you become fully responsible for those pictures, including storage, backup, retouching and printing, as if you had shot the wedding yourself. The photographer literally can't possess a copy without a license from you.

If you're willing to put up with all of that, most photographers would be happy to sign the rights over to you as long as they get a big paycheck. Otherwise, be happy with a license to use the files personally and respect the photographer's need to support his family or household.

6. You don't get all the images

Do you really want the one where you half-blinked, or where you're taking a big, sloppy bite of salad?

Forget it. Nobody could stand looking at all those, not even you. Professional photographers cull out images that don't make the cut in their judgement, so you won't get every image taken.

7. It's not OK to screen-rip

Nope, not even a little, even if you paid a lot for the photographer. Unless you have a license from your photographer, you can't just rip online previews from your screen and post them on Facebook or make prints. Enforcement varies per photographer.

Hey, I said they were dirty secrets!

What's your #1 question about digital files? I'll give you my best answer!

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

12 Wedding Show Hacks for Brides (and Grooms) to Get More Done

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sat, 02 Jan 2016 14:00:00 GMT

Make your next visit to any Wisconsin bridal show a breeze and get more done once you know the top 12 hacks.

Download my free report right here for my top 12 wedding show hacks to save time, get only what you need, and enjoy your day.

My wife and I have been where you are, in the midst of planning a wedding, looking for Wisconsin wedding photographers and reception venues, looking for anything to make it easier.

Make it easier on yourself with this checklist of wedding show hacks. Go through the checklist before your next bridal show and streamline your visit.

Ready to get the report? Click here, and I'll send it in a few seconds. Thank you!

Top 12 bridal show hacks for brides and grooms revealedSave time and get more done with these top 12 bridal show hacks from Joel Nisleit Photography.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

3 Reasons First Look Shots Fail at Weddings, and How to Make Them Better

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 18 Dec 2015 13:50:00 GMT

How to do a first look well at your wedding.www.canstockphoto.com used with permission.

www.canstockphoto.com used with permission.

Nothing kills a first look like a photographer, bride and groom who have no idea what to do. For a successful first look, avoid these top 3 mistakes.

It wasn't built up. Emotional images are one of the main reasons for doing a first look, but the moment falls flat if the photographer doesn't put any effort into building it up. Don't just do a first look. Do it like it's the moment you've dreamed of forever.
It wasn't set up. You need a specific plan for how and where the first look will happen, and a little direction. With proper setup, you're free to react naturally and the photos will be beautiful. Without setup, it's just some pictures of you looking at each other.
Nobody knew why they were doing it. Photographers should not do a first look just because it's what everyone does or what you want. You shouldn't do a first look just because it's what the photographer wants. Have a specific reason, and make sure everyone knows how to make it worth the time.

I counsel my clients to only do a first look if it's something they feel strongly about and have their own reasons for doing it.

One reason is if you would die without having a good reaction shot of the groom seeing you in full wedding dress for the first time. Another is if you're less traditional and want to clear up some family and bridal portraits before the ceremony.

The first look can be done well, but only if properly prepared for.

Joel Nisleit Self PortraitJoel Nisleit, Wisconsin wedding photographer.

Joel Nisleit is a Wisconsin wedding photographer looking to craft a romantic story you'll want to showcase. Contact Joel for a complimentary idea session.

Beaver Dam Country Club Wisconsin Wedding of Joey + Katie - Photographer Joel Nisleit

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sat, 21 Nov 2015 02:00:00 GMT

Joey and Katie picked all the right spots for their Beaver Dam Country Club Wisconsin wedding and Chapel of the Archangels ceremony.

Katie looked stunning in her vintage glam dress and the headpiece was such an elegant touch. It tied her look together with the silver and rhinestone band on the dress and lace motifs, so it was important to feature those details. Katie's dress itself was an antique cream, perhaps a hint of peach.

For accents, the couple went for a peacock theme, which carried through the bouquet with vibrant purples, blues and greens, and into the bridesmaid dresses, groomsmen's ties and vests, and table centerpieces.

Joey and Katie totally rocked together, so it was a joy to be there throughout the day, but one of my favorite memories was during the ceremony when Joey stomped on the wine glass and all the guests yelled "Mazel tov," which, by the way, is an expression of congratulations or good luck. I'd never witnessed that before!

Bridal party photography took place at the Dodge County Historical Society, where we made use of the train and historic library. Then we took advantage of the spacious and well landscaped grounds of Beaver Dam Country Club, where we had nice, soft light and trees barely starting to turn yellow.

As always, the staff at Chapel of the Archangels as well as Beaver Dam Country Club were gracious, friendly and professional throughout, a pleasure to work with.

I had a blast designing Joey and Katie's custom album and slideshow, and once again I'm humbled to have had the honor of photographing a beautiful wedding and preserving the memories for a beautiful family. Thanks so much for having me!

Thanks to the following vendors:

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Wisconsin wedding photographer with designer flair searching for his next rock star couple right now. Contact Joel for quick, expert help getting the photography of your dreams.

Eric + Emily's Fishing Themed Summer Engagement at Lakeside Park Fond du Lac

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 11 Nov 2015 22:30:00 GMT

Eric and Emily knew they had to incorporate fishing into their engagement shoot at Lakeside Park in Fond du Lac September 13.

Putting down the blanket, snuggling up to Eric and watching or helping him fish is an ideal summer activity for the couple, and Eric is quite serious about it. He's participated in several international fishing competitions including one in Spain this year.

The angling theme was uber adorable, but when Emily put on that charcoal blue dress and black pumps for evening pictures, the shoot took on a whole different look.

After making stunning use of natural light throughout the park, we headed over to the lake at dusk, popped some flash and created some sunset magic along the shoreline.

Lakeside Park never ceases to offer amazing opportunities for photography, and there are so many different ways to photograph there, we took advantage of as many as possible, including the bridge, piers, river, fountain and lake.

Fantastic job Eric and Emily! I know they'll have a beautiful wedding at St. John's in Rubicon and reception at the Schauer Center in Hartford 2016.

I can't wait to be a part of their special day, and thanks to Eric and Emily for choosing me to be their Wisconsin wedding photographer!

Lakeside Park Fond du Lac Summer Engagement PicturesFishing-themed engagement session transitioning to evening elegance at Lakeside Park, Fond du Lac

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Wisconsin wedding photographer with designer flair looking for couples who want an experience to treasure for the rest of their lives. Contact Joel for services and pricing or to set up a meeting.

Grant Park Milwaukee Seven Bridges Engagement Pictures of Evan + Shannon

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 06 Nov 2015 16:00:00 GMT

Evan and Shannon brought something interesting into the mix of their Grant Park Milwaukee engagement session September 20, and it wasn't just their dogs Tesla and Newton, though they were great subjects too.

Mad scientists in their own ways, Evan and Shannon decided to write their wedding date in bacteria in petri dishes as a personal touch for their photos. Oddly, it turned out great!

Shannon even mentioned on Facebook that she had thought of doing the engagement session in a lab. To give that some context, Shannon is a PhD candidate at University of Minnesota and Evan is a postdoctoral fellow at the National Institute for Health. I would have been up for it!

Grant Park offered a variety of beautiful locations for the shoot, too many to explore in one session, with wooded trails, bridges, fences and lots of park space. And Evan and Shannon totally knocked it out of the park, so to speak.

Evan and Shannon will marry in Milwaukee in July 2016, and I'm so excited and honored to be a part of it. I can't wait to see what nerdy surprises they have in store, as they've talked about playing some theme songs from their (and mine) favorite shows and films.

Congratulations Evan and Shannon. Thanks for making me your Milwaukee wedding photographer!

Grant Park Milwaukee engagement photographyGrant Park Milwaukee engagement pictures of Shannon and Evan.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Wisconsin wedding photographer with designer flair serving brides and grooms who crave an experience they'll treasure for a lifetime. Contact Joel for services and pricing or to set up a meeting.

4 Tips for Hiring the Right Wisconsin Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 29 Sep 2015 16:48:15 GMT

Before hiring a photographer for your Wisconsin wedding, follow these four quick steps to put your mind at ease.

Address your questions or concerns. Make it about what you want and need, but don't just go by what's on paper or the website. See the photographer's results, hear from previous clients and evaluate how well the photographer is serving you right now, not just how they say they'll serve you. Whatever you want to know, ask until you understand, and don't expect anyone to read your mind.
Take another look at the photographer's work and pricing. Review her galleries, ask to see samples in person, and get acquainted with the overall look of her work. It doesn't make sense to choose a photographer whose work you don't really like just because it saves you money.
Meet in person, if you haven't already. A face to face meeting is worth 10 phone calls, 100 emails and 1,000 website views. Specifically, a meeting provides three things a price sheet can't: confidence, samples and relevant advice.
Ask for a specific quote and get suggestions or alternative options to choose from. A professional works to understand what you want before just throwing you a bunch of numbers and lists that may not be relevant or helpful. Ask how to book and make sure you get pricing and terms of service in writing.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage. Joel Nisleit is a Wisconsin wedding photographer with designer flair searching for his next rock star couple right now. Ready to be in the spotlight? Contact Joel for services and pricing or to set up a meeting.

WannaBee Campground - Ho Chunk Wisconsin Dells Wedding Pictures of James + Jodi

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 28 Sep 2015 20:00:00 GMT

Cowboy-casual charm and elegance, perfect weather, and sharing of support and love between family and friends marked the WannaBee Campground Wisconsin Dells wedding of James and Jodi September 19.

Jodi looked absolutely aglow and so beautiful in her dress with black lace trim, elegant veil and stunning necklace and bracelet.

From Jame's straight-edge shaving routine to the silhouette of his hat, I also enjoyed making portraits of James the way I thought Jodi would want to see him.

Wisconsin Dells Wedding of Jodi + JamesWannaBee Campground Wisconsin Dells wedding pictures of Jodi & James, sample.

One of my favorite memories of the wedding was seeing the happiness on the couple's faces throughout the ceremony, and also watching them get lost in each other's eyes during the first dance.

Two elements unique to this wedding were the natural wood arbor, under which the ceremony was held, which Jodi's father made by hand, and James handmade the wedding rings from titanium!

JJ's Roadhouse Karaoke & DJ Co. was a great help in getting people together for a large group overhead shot after the ceremony, as well as family formals, and he kept things running smoothly all night.

The food was delicious and I got to try some Texas favorites near and dear to the couple, including cowboy beans, brisket (yum) and a sweet potato pie of James' recipe (you converted me James).

It was a joy just watching the couple and their family live every moment to the fullest and celebrate the momentous day. They reminded me of why I really do this: to serve and preserve the memories of families on one of their most important occasions. Thanks so much for making me your Wisconsin Dells wedding photographer!

Vendors:

Venue: WannaBee Campground & RV Resort ceremony and reception; Ho Chunk Resort preparations
Officiant: Rev. Jerry Joles
Entertainment: JJ's Roadhouse
Photographer: Joel Nisleit Photography
Cake: Desserts by Deb Posthuma
Dress: Edith's Bridal

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Wisconsin wedding photographer with designer flair searching for his next awesome couple right now. Ready to love your pictures and your photographer? Contact Joel for services and pricing or to set up a meeting.

Derek and Sara's Milwaukee Riverwalk Engagement Pictures

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sat, 19 Sep 2015 14:00:00 GMT

Derek and Sara described themselves as a classic couple who wanted to include the Milwaukee Riverwalk as well as local geometry and architecture into their engagement shoot August 31.

I was happy as their Milwaukee wedding photographer to find and create some dramatic, moody and fun portraits featuring several locations in addition to the Riverwalk, including Milwaukee City Hall, Milwaukee Performing Arts Center, Milwaukee Art Museum and bridges. There are so many pictures to create downtown, there's no way to explore every option in one session, but what we created I think is stunning.

A big thanks to Derek and Sara for being such an enjoyable couple to work with. It may sound cliche when I say it for every client, but I guess I just have the best clients!

This New York couple will be married in Milwaukee in summer 2016, and I look forward to being their Milwaukee wedding photographer!

Derek & Sara Milwaukee Engagement CollageMilwaukee Riverwalk, downtown, Milwaukee Art Museum, Milwaukee Performing Arts Center engagement photos.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Wisconsin wedding photographer with designer flair searching for his next rock star couple right now. Is it you? Contact Joel for services and pricing or to set up a meeting.

4 Reasons Why You Shouldn't Hire a Second Shooter for Your Wedding

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 01 Sep 2015 21:00:00 GMT

If you can't decide whether you need a second shooter at your wedding or not, take a look at four reasons you wouldn't need one.

You have a long ceremony. Additional coverage of the ceremony is one of the biggest reasons brides hire second photographers. While I can't dismiss the importance of this, a ceremony that's longer than 30 minutes gives a single photographer more time to cover secondary angles and moments in addition to the key story elements and will lessen the need for a second photographer. You can always ask if you can hire a second photographer just for the ceremony.

You don't need a lot of candid photography. Getting extra candid photos to round out the day is one of the best reasons to hire a second photographer, but it also means hundreds of more images to sort through that in all likelihood won't end up in an album or getting much share time. If you're not big on candid photography and just want the key story moments, it may be a great reason to skip a second photographer.
It's just not in your budget. Any lead photographer should be able to capture a great wedding story alone. While you may have to accept fewer candid or detail shots, it will be a distinctive story told in the vision of your photographer, and that's what you're hiring him for.

Coast Restaurant WeddingPink flowers in vases brighten tables at a Coast Restaurant wedding reception in Milwaukee.

You're not big on detail shots. If you didn't invest a lot in decorations or settings and don't need a lot of photos of those details, a main photographer should be able to grab a few key shots without having to worry about schedule overlap or guests overtaking the venue. Just make sure your photographer has at least 10 minutes alone with the ceremony venue and 15 minutes with the reception venue to get shots of them undisturbed.

This doesn't mean you shouldn't hire a second photographer! In fact, if you're still unsure, check out this article on why you might need one. And talk about your options with your photographer.

If you'd like to learn more about getting the best coverage for your wedding, get in touch with me now and I'll be happy to help!

Did you think a second photographer was a good investment? Leave a comment below.

Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.

Joel Nisleit is a Wisconsin wedding photographer with designer flair searching for his next rock star couple right now. Ready to be in the spotlight? Contact Joel for services and pricing or to schedule a meeting.

6 Totally Unexpected Wedding Costs - Wisconsin Weddings

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 25 Aug 2015 12:00:00 GMT

Even the most detail obsessed bride may not see these wedding costs coming. That doesn't mean they're all bad, just helpful to know.

Look out for These

Ice: Brides have reported paying up to $600 for ice and a freezer rental at a reception.
Fees for negative reviews: Thinking of pinching a site manager with a biting review? Some venues might bill you for that, though this practice is highly controversial and may be illegal.
Rental transportation: Some rental companies don't include the cost of transporting the rented items in their price per item.

photo credit: Ice cream via photopin (license)

Ice cream scooping: While not a large fee, brides are surprised this is a real thing with some vendors. Safe to say whatever dessert or snack is served, there's probably a fee for it.
Welcome bag delivery: Check whether the hotel charges to drop welcome bags in guest rooms and how much.
Fees for hiring vendors outside of a venue's preferred list. One photographer even reported the venue's photographer showing up unexpectedly to take reception detail shots. Do you want a stranger taking and using images of your personal reception details without your knowledge?

Prevent Surprises

Ask every vendor about all pricing up front, including additional provisions and fees, gratuities and other purchases you may be obligated to make. Ask "What else will I be obliged or required to pay for after signing this contract?"
Review what you're signing before you sign it! There's no excuse. Take the time to read it and ask questions until you understand it.
Reserve about 20% of your budget for unanticipated costs, including emergency purchases on the day, which are almost inevitable. It could be something as insignificant as bobby pins for you or socks for the guys. The suggested reserve ranges from 5% to 20% in the industry.

The Internet has lots of planning articles about unexpected costs that really belong more in the "duh" category than "unexpected," like beauty treatments, invite postage, transportation, overtime charges or taxes. Who expects to pay for anything retail without tax, or send an invite in the mail for free? While you may forget about those costs, you know anything you want to add to your wedding will cost something.

I hope you find it eye opening the things you wouldn't reasonably expect to cost extra, and the importance of budgeting for truly unexpected costs!

What's the most unexpected wedding cost you've heard of? Leave me a comment below.

Joel Nisleit is a Wisconsin wedding photographer searching for the next rock star couple who wants classy photography with designer flair. Will you join the couples before you who dared to love their pictures? Contact Joel for more information.

5 Reasons Why You Should Hire a Second Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 20 Aug 2015 18:43:17 GMT

Wisconsin's best wedding photographers are offering or including second photographers, and more brides than ever are hiring them. Find out the best reasons to have a second photographer for your wedding.

Ceremony coverage
- The ceremony is the most important thing you can't do over, so you must get proper coverage as it happens. Especially if your ceremony is less than 30 minutes, there simply isn't enough time for one photographer to cover the main shots and get secondary details. For example, it's almost impossible to get the groom's reaction to seeing the bride for the first time while also getting the bride's first expressions as she comes down the aisle.

Two places at once
- While you should plan to have the main photographer cover as much as possible, including both the bride and groom getting ready, certain things just overlap, and it helps to delegate. There are too many moments going on at once for one photographer to get everything, and a lot of "firsts" happen simultaneously between multiple people. While it may not be as ideal as having the main photographer do everything, two photographers never decreases coverage, and it always saves time.
Extra candid coverage
- Candid coverage is unplanned, spontaneous photography that you can easily miss if you aren't at the exact right location at the exact right time. If candid coverage is a priority, a second photographer is practically essential to have for the entire day. It greatly increases your chances of getting good spontaneous images, and it can help free the main photographer to craft images with more design.
Reception, ceremony or other details
- Going back to the two places at once discussion, getting clean shots of your amazing reception or ceremony venues in their full, unmolested glory will make for a better photo story. Sometimes unavoidably, it's impossible for the main photographer to capture one thing and also get to the venue in time to photograph it undisturbed. Having a second photographer to spend time on these shots can well be worth the investment.
Backup
- Not to be crude, but the more tools you have at your disposal, the better chances you have of getting the results you want. A second photographer good insurance for those critical moments when you want double coverage. If one is great, two is greater.

What if I can't get two photographers?

It's certainly possible to get amazing results with one photographer, but it's all the more important to plan for them and talk in detail about your schedule and shot list in advance. Also, ask if you can hire a second hourly.

What else should I know?

For high-end single and multiple photographer experiences, including hourly second photographer coverage, contact Joel Nisleit Photography and learn how you can get amazing results.

* Why are you glad you hired a second photographer? Please let me know in the comments below!

Joel Nisleit is a Wisconsin wedding photographer searching for the next rock star couple who wants a knock-out photography result. Will you join the couples before you who dared to love their pictures? Contact Joel for more information.

How to Beat Pre-Wedding Depression and Stress

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 19 Aug 2015 19:03:43 GMT

Don't feel alone if you're overwhelmed with wedding planning stress and depression. It's a fairly common problem, but here's how you can beat it and make planning fun again.

Used with permission.

Recognizing the problem

What most brides refer to as pre-wedding depression is really intense anxiety about overwhelming details and decisions. It can also include serious doubt about decisions, feeling like a bridezilla and actually hatred for the wedding.

You don't have to suffer any longer!

Solutions

Hire a professional planner. If you want the feeling of knowing your wedding vision and plans are taken care of while you rest easier, a planner is your best solution.
Ease up on the DIY: There's realistic, and then there's Pinterest. DIY promises savings and then sucks the time and joy out of what's supposed to be the best time of your life. Focus on what's realistic and impactful.
Practice letting go. Cinderella had a lot of help, as did Elsa. Stop volunteering for stress and start delegating to vendors, future spouse, friends and family. Start small if you have to.
Vent into a notebook (not a Facebook). Let it all out. You can even burn it when you're done. Being able to say whatever you want will immediately reduce your stress levels, even if no one else hears it.
Just be you. Deep down, people really want you to be you, so do them the ultimate favor and let your wedding be yours and theirs be theirs. Don't let them live vicariously through your wedding.

Give to yourself. Fun gatherings can turn into more wedding question fests that just fuel your anxiety. Instead, enjoy some time alone or with your fiancee and do some of the things that brought you together in the first place.
Schedule a regular time and place, perhaps monthly or weekly, to discuss planning with friends and family in a controlled setting instead of a constant bombardment of questions, tasks and new information every day.
Invest in some sort of organization tool, such as a wedding planning book or website, to help keep track of your efforts, if you insist on doing the planning yourself.
Exercise: It's kind of a cliche, but get up, go out and do something, anything. Exercise has physical and emotional benefits and can reduce stress.
Put the burden on your vendors. If you feel there's an area they could help in, politely ask them. Please be nice! Professionals love what they do but are not mind readers.

It's normal and OK to have some stress and nerves, but just remember if your wedding stops being fun, it's time to take a break and change something. A wedding celebration should be the most exciting time you've had, not the most depressing. So, do what you need for yourself and bring the fun back into it.

Joel Nisleit is a Wisconsin wedding photographer looking for brides and grooms who want an experience to treasure and show off for the rest of their lives. Contact Joel for immediate help.

The One Mistake That Could Ruin Your Wedding Experience

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 10 Aug 2015 13:00:00 GMT

If you're not getting this one important thing from your wedding vendor, run away! Yep, I'm talking about a detailed contract.

You need a contract for two main reasons: It outlines exactly what you will pay and what you will receive, and it specifies the terms of the agreement, such as what happens if you cancel, if the vendor can't do the wedding, and whether there are additional fees or provisions. A good contract serves both you and vendor.

Most of the disputes I've seen reported were in situations where there was no contract. It's rare to see a disagreement where terms were agreed to and signed, and even in those cases at least there's something written to refer to for help. Without a contract, you're never safe.

Once you get a contract, don't forget to actually read it and ask questions. Understand exactly what you're getting and what's expected of you. If you sign the contract without reading it and don't like the results, it will be difficult to get any help.

Look for vendors who have electronic contracts and a variety of online payment options to make your experience even easier. Electronic contracts are legal and enforceable in Wisconsin, if you wish you can learn more about them at the Wisconsin State Legislature.

To recap, here are three steps to take before hiring your vendor, guaranteed to minimize any problems with your experience:

Get a contract.
Read it.
Make sure you understand it, no excuses.

Joel Nisleit is a Fond du Lac wedding photographer with designer flair. He specializes in helping brides who value a high end photography experience. Contact Joel for services and pricing information.

James & Jodi's Lakeside Park Fond du Lac Engagement Pictures

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 07 Aug 2015 20:30:00 GMT

James and Jodi are such a natural couple that making a stunning engagement shoot with them June 10 at Lakeside Park, Fond du Lac was relatively easy.

With James' all-black cowboy affect and Jodi's cute black/gray dress, it was a perfect situation for taking advantage of so many of the features Lakeside Park offers, including the fountain, bridge, gazebo and lots of beautiful landscaping. This is really one of the best places in Fond du Lac for beautiful outdoor portraits.

Jodi had this to say about the images: "Joel is amazing! The quality of his work is unique and exceptional. We are so pleased with his work, and he is a blast to work with. He takes time to make sure everything is just right while shooting the images, and the end result is beyond what we were expecting. Thank you Joel!!"

I'm so proud that they loved the images and how much they've been shared. I'm blessed to work with awesome couples, and I look forward to being James and Jodi's Wisconsin Dells wedding photographer this September!

Know someone who'd love photos like this? Contact me right now and I'll be happy to set up a free consultation or answer any questions. All of my wedding collections include an engagement session.

Want to see the Top 5 Outdoor Fond du Lac Wedding Venues?

Joel Nisleit is the founder and lead creative photographer at Joel Nisleit Photography, a professional wedding photography business in Horicon, WI. He serves couples who value photographic art and a fun, stylish experience. Contact Joel for beautiful portraits at any venue.

Top 5 Outdoor Fond du Lac Wedding Ceremony Venues

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 05 Aug 2015 19:30:00 GMT

Finding a beautiful outdoor wedding venue in the Fond du Lac area or anywhere can be challenging, but I've discovered a few great ones in the area for you.

Lakeside Park (Fountain Island): One of the most popular outdoor wedding ceremony locations in Fond du Lac, Lakeside Park offers several scenic venues. A lighthouse, covered bridge, weathered gazebos and beautiful landscaping provide more portrait opportunities than you could use in one day. Fountain Island has the majority of the park's photogenic features. Having the ceremony and photos in one location always saves valuable time!
Bride and Groom in Covered BridgeWedding couple portrait in covered bridge at Lakeside Park, Fond du Lac.
Whispering Springs: Shhh! This Fond du Lac golf course hosts outdoor weddings and offers beautiful indoor reception facilities. Located right in Fond du Lac and open year round. A variety of outdoor photo opportunities present themselves. Located at 380 Whispering Springs Drive.
The Golf Club at Camelot: While not technically in Fond du Lac, this Lomira wedding venue is one of the most popular locations for an outdoor ceremony in the Fond du Lac area. The course offers many scenic photo opportunities and beautiful outdoor ceremony locations, as well as dinner service and reception sites.
Wedding Couple in FieldBride and groom portrait in field at Camelot Golf Club in Lomira.
South Hills Golf and Country Club: A beautiful site for your ceremony, dinner and reception, this golf course has a lot to offer for the discerning couple looking for an outdoor wedding, beautiful photo opportunities, and reception in one location -- 1175 Fond du Lac Ave.
The Waters: Beautiful grounds and elegant architecture make for a great outdoor wedding ceremony location near Fond du Lac. Though this is in Oshkosh, it's a place many Fond du Lac brides check out.

Want beautiful images no matter where you have your wedding? Contact Joel Nisleit Photography now for more information! Let me help you get beautiful photography at any location.

Did I leave out your favorite, or would you like to be on the list? Leave me a comment below!

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Joel Nisleit Self PortraitSelf portrait of studio owner Joel Nisleit. Joel's skills enable him to capture portraits like this in any location, from home to a parking garage.
Joel Nisleit is the founder and lead creative photographer at Joel Nisleit Photography, a professional wedding photography business in Horicon, WI. He serves couples who value photographic art and a fun, stylish experience. Contact Joel for beautiful portraits at any venue.

The Top Pinterest Mistake Modern Brides Make

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sun, 21 Jun 2015 22:00:00 GMT

Beaver Dam WeddingStylized group portrait at St. John's Lutheran Church, Beaver Dam.

If you want to save time and get more for your money, you need to avoid this one Pinterest mistake millions of brides make that has nothing to do with their wedding photographers but everything to do with the pictures.

If Pinterest has led you to your wedding photographer or at least a particular style, great. Now it's time to stop using Pinterest for your photography search and focus on the photographer you have or want to hire.

It may be incredibly tempting to show your photographer a board of shots you want him to emulate, but don't! If you're having this temptation right now, I have two pieces of advice:

Get the same budget, hair, clothing, body, decorations, time of day, venue, photographer and wedding party as in the shots you want to replicate. That's the only way you're getting those shots.
Narrow it down to three shots that you know will be 100% doable at your wedding, and forget the rest.

Do not use Pinterest as a standard for what you can expect from any vendor, unless you're referring to a board with work specifically from that vendor. Everything on Pinterest is out of context, and to expect anything from it -- especially pictures -- to be anything more than a cheap imitation at your wedding is unrealistic.

Also, having to pull out a sheet of photos and then replicate them wastes valuable time that you can't get back on your wedding day, not to mention the talents of the photographer you actually hired for his vision and style. Trust your photographer!

If you hired the right photographer, she'll create a story for you that will stand apart from the crowd, stand the test of time, and feature you in ways nothing on Pinterest can touch. The anticipation of a kiss, your lips so close together that you can feel the electricity, the way you hold each other, the way you smile -- those shots will have a much greater impact than any clever Pinterest shot.

Instead of being the Pinterest copycat, be the bride others want to copy. There's no rule that says you have to do anything Pinterest tells you to, so if you want to be original, it's the last place you need to look.

I mean how many recipes have you tried from Pinterest that didn't quite turn out? Now imagine the same for your wedding photography.

Wisconsin Wedding PhotographerSelf portrait of Wisconsin wedding photographer Joel Nisleit. Joel Nisleit is a Wisconsin wedding photographer with a designer flair. Contact Joel now for services and investment information, or call 920-219-2020.

5 Tips for the Best Wedding Preparation Photos

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 10 Jun 2015 15:20:01 GMT

1. Preparation coverage is valuable because it helps tell a complete story of your day and will include some of the most beautifully lit and directed as well as candid photos of the day. It can minimize group portrait time after the ceremony, as that's typically best reserved for group shots featuring the bride and groom united.

2. Include the guys. It's a big day for the groom too! This is the best chance to get those dramatic solo shots of the groom looking his freshest in that handsome outfit, as well as with family and friends. Without this coverage, the album may feel like it's missing a piece of the story.

3. Schedule preparations so that the girls and guys get ready at separate times. It's best to get the guys' preparations out of the way first so the photographer can focus on the beautiful bride. Proper scheduling lessens the need for a second photographer to cover simultaneous events. However, this doesn't necessarily mean you won't need a second photographer. It's best to discuss your schedule and needs with your photographer before you book.

4. Hair & Makeup: Hair and makeup time is great for candids of the bride with her bridesmaids, and a few highlights as she get her lips and eyes done. Girls won't want too many shots of themselves with unfinished hair and makeup in an album. If your schedule is tight, this is a good time to get the guys' coverage out of the way.

5. Communicate: Every photographer does prep coverage differently. Set up a complimentary planning session, if your photographer offers one, and understand whether this coverage is included, the benefits of it and address any questions or concerns you may have.

Joel Nisleit Photography provides full wedding coverage from preparations to reception included with every collection. Joel is a wedding photographer providing romantic, stylish, natural photography with a designer flair throughout Madison, Milwaukee and all of Southeast Wisconsin. Check availability and pricing here.

Avoid Wedding Schedule Nightmares

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 27 May 2015 11:30:00 GMT

Having the time for the photos you want is easy if your photographer works with you before the wedding to make sure the schedule allows for those images.

I've seen many studios not do this, and sometimes the result is sacrificing amazing photography to stay on time, or it could mean getting the photography you want at the cost of setting back other events significantly or even skipping them.

Specifically, scheduling and most wedding photography problems are the result of Photographer-Client Disconnect, a syndrome typical of studios that put someone, like a consultant, between you and your photographer, or when a photographer simply doesn't have the expertise or inclination to help.

It's important to work together directly with your photographer on more than one occasion well before the wedding to plan a schedule that allows the photography you're paying for. This is one of many values that the price-cutting, inexperienced photographers and photo factories simply don't provide.

A typical scheduling disaster, which a good photographer can easily help you avoid, is not enough time before or after the ceremony to get all the portraits you want.

If you want to save money by hiring a cheap photographer, you could be sacrificing some key values and actually make it more difficult to get the pictures you really want. The key is hiring an experienced photographer who will help you avoid hidden delays you wouldn't think of and let you know when the schedule you have conflicts with the photography you want. Many studios lack this simple service that can make a huge difference in your image collection.

A photographer worth your investment will be happy to give you complimentary planning sessions and continued support in designing the photography of your dreams. She will also be able to take charge when necessary to create images on schedule while respecting you and guests.

For an even more memorable experience, hire a wedding planner/producer to coordinate your entire wedding day. Not only can your producer help you choose vendors and coordinate your schedule but he can find ways to save money you may not have thought of. Experienced producers like Brian Kelm Productions, which specializes in high-end events, can bring a lot of value to anyone looking for a memorable, standout wedding.

Photographers aren't superhuman. They can only work with what they have, and if there's not enough time, it does affect photography. By working with your photographer on multiple occasions before your wedding, you can avoid problems and make sure you get the photos and service you're expecting.

The important thing is it's the photographer's job, in coordination with other vendors, to make sure the schedule allows for the photography you want. When you invest in a trained professional, expect a higher level of service and better results. It's worth your investment!

Connect with me now to get started!

Download my Wedding Photography Guide.

Download my Scheduling Tips.

--Joel Nisleit is a designer wedding photographer based in Horicon, WI, providing photography and education throughout Wisconsin. He's known for fun, natural, stylish photography with a designer flair founded on classical principles. He's a member of Professional Photographers of America.

5 Questions to Ask When Hiring a Wedding Photographer

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 31 Mar 2015 00:26:14 GMT

Before you hire one photographer or turn down another, you'll want to make sure you have satisfactory answers to these five questions. Some of these you must ask the photographer, while others are for you to think about.

May I talk with previous clients? This question would throw some photographers off guard, but good ones have a list of referrals. Now, these are hand picked, but good photographers won't have to coach clients on what to say, and most clients wouldn't put up with being coached anyway. These testimonials can be quite valuable in deciding who to hire.
How much do you value trust? Anyone can give you photography. But when it comes to professional practices and behavior, delivery, exceeding expectations, being entrusted with your wedding photographs and products, the number of people who can deliver drop exponentially. Don't trade peace of mind for price unless you're willing to settle for less.
Do you want short term savings or long term happiness? There's a reason photographers match only lower prices and not higher ones. A photographer who offers the "same thing" for less is never offering the same result exactly. You need to decide where you fall on the scale: cheap, or excellent.
How equipped is your photographer to do business? How equipped is your photographer to handle last-minute changes, accidents and provide service that actually makes your life easier instead of more painful?
Are there any more stones you can turn over? Don't be quick to dismiss a photographer just because you don't have enough information or haven't yet been offered an incentive. Don't be afraid to just ask for that deciding piece of the puzzle. Good photographers work hard to exceed expectations, but they're not mind readers.

Are you ready for a photographer who will commit to your results? Contact me to set up a free consult, and I'd be happy to understand your preferences, answer questions, and show you more about my wedding photography.

Joel Nisleit is the founder and lead wedding photographer at Joel Nisleit Photography, serving Fond du Lac, Madison and Milwaukee areas. He helps brides get elegant photography collections they cherish. Contact Joel for service and pricing information.

Wisconsin Wedding Photographer Joel Nisleit Featured in 'Local Leben' Magazine

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 09 Feb 2015 13:45:00 GMT

As a former photojournalist, I've had my images in print so many times it took a while for it to sink in that my feature in the brand new anniversary edition of "Local Leben," a magazine about local life and art in Dodge County, WI, is my first independent photography editorial. As a bonus, my image, Winter's Glow Beneath Wooden Fence, is the cover image for the January-February 2015 issue.

The best part is I didn't even have to ask for it. This came together rather quickly for me. In 2014 I believe, Jim Dittmann, the magazine's publisher, had seen me at a meeting of the Lightcatchers photography club in Beaver Dam and liked my work, so he contacted me in December to see if I wanted to be the Viewfinder featured artist for the upcoming anniversary issue. Heck yeah!

While I was happy to be featured, the call to be on the cover didn't come until January, kind of out of the blue while I was visiting my sister in Lake Geneva for her birthday. So I asked which image and again I said heck yeah!

Nobody ever told me anything about a Delightful Decades unveiling party for the cover, so I caught an announcement of it from a Local Leben email updating me about my business listing on the site. I checked it out, and how many times do you get to go to the unveiling of a magazine cover on which your photo is featured? I hope more than once, but no way was I going to miss this.

It was a cold and windy Saturday, January 17, 2015 at the Wayland Academy gymnasium, but at least it wasn't snowing. The event was fancy. Hors d'oeuvres, wine and beer, silent auction, some people dressed in clothing reminiscent of their decades. I took out some new Ralph Lauren.

In the middle of the gymnasium at Wayland Academy, standing proud in the spotlight, was an easel, cloaked in a black curtain, under which hid an enlargement of the magazine cover, not to be peeked at.

When it was time, co-founder and CEO, Erik Dittman, gave a quick talk and then counted down: 10-9-8-7-6-5.... The old heart was pumping a bit faster with excitement. I was certainly proud to be there and enjoying every second of the experience but at the same time remembering the night wasn't all about me. It was also about the people who gave me the opportunity and who are running this magazine. But come on, I'm on the freakin' cover!

And then the girls dropped the curtain. Whew! There it was, beautifully cropped and in perfect color. I was asked to quick come up and wave, drinking in the applause. After a few more words from Erik, the crowd came up and signed the cover, I adding my autograph in the lower right.

It was a little easier to break the ice after having been recognized as the cover artist, so I talked with a few more people who had been identified as the staff of the magazine, and people came up to me wanting to know about my photography, which I was glad to tell them. The cover enlargement now hangs in the Local Leben office with previous covers. Maybe next year it will be voted on as one of the favorites.

So, yes, I had to soak up this experience and enjoy it. It's a form of recognition that I'm greatly honored to accept. I worked hard to become a photographer and it was nice to get recognized for what I do in the feature article, but especially with the bonus of being on the cover in the same issue.

Thanks to Local Leben for the opportunity and experience. The magazine features content about local life and art from local contributors and is distributed throughout Dodge County for free and supported by local advertisers. The latest issue is at the Beaver Dam Library.

Learn How to Get Correct Exposure With Joel's Expose Like the Pros Workshops

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 16 Sep 2014 13:00:00 GMT

Get the foundations you need to consistently make images look the way you want with "Expose Like the Pros" workshops by Joel Nisleit Photography October 8, 5 to 8 p.m. and November 1, 1 to 3 p.m. at the Seippel Center for the Arts in Beaver Dam, WI.

Learn professional secrets of light, metering methods, exposure controls and modes, dynamic range, histograms and gain insight on how to make creative exposure decisions. It's all about light, so bring your DSLR and curiosity.

Anyone interested in taking the first steps to understanding and controlling photography should attend this workshop. Knowing what the controls do or what the terms mean isn't enough. Getting a few tips and tricks isn't enough. You need to understand how to record light, or you won't understand the very thing that is photography or how to get more out of it.

Get the exposure just right out of camera every time! Joel will teach you the foundations.

There will be some technical discussion, but everything in this workshop is prerequisite to having any control over photography, so if you want to be in control, there's no choice but to confront a little bit of science. You'll also see demonstrations and get hands-on experience learning important concepts.

Most workshops, seminars and webinars, while highly entertaining, leave photographers without the foundation to actually use those tips or make their own creative decisions. Joel wants to give you more. He knows you won't learn everything you need overnight or in one workshop, but you'll come away with a foundation you can build on and practice to stop being a snap shooter, understand how to get more out of the equipment you already have, and start being a mindful recorder of light.

The problem of most beginners is that they take pictures of scenes or objects, which always leaves them guessing what the best exposure is for the thing they're pointing the camera at and ultimately hoping more expensive technology will figure it out for them. Joel begins with explaining that common approach but then teaches the concept of exposing for the light itself. This leads not only to more accuracy and control but it enables you to see light. Once you can identify light's source, direction, pattern, color, impact and emotion, you can make decisions on how to manipulate it.

Learning exposure is the first step to understanding that photography is always and only about recording light, not recording people, places or things. Cameras don't record scenes or things. They record light, and light is what informs the viewer of not only what the photographer saw but what he felt. Without light, there's no photography.

So join Joel and begin your photographic journey! Each class is $55 for a practical photography foundation, with a portion going to the Beaver Dam Area Arts Association. To register, please call 920-885-3635 or email [email protected].

Abstract Photographs of Glass and Leaf

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 27 Aug 2014 03:32:01 GMT

In trying to keep up with all of my self-imposed photographic obligations, I made some abstract works for the local camera club to show at the August meeting. I'll share the details and how I made the images.

"Abstract" is defined in Oxford American Desk Dictionary and Thesaurus as "Achieving its effect by shapes and colors rather than by realism" and "extract, remove." To make these abstracts, I wanted to find a macro subject that lent shapes, colors and forms for me to extract into art.

Remembering an idea about shooting through other materials, I decided to look for translucent objects that I could place color behind and then shoot through. I found a Glenlivet drinking glass that had an ornate bottom, which when viewed through a macro lens was full of crystalline patterns. I set the glass on top of a Hawaiian shirt that had colors I liked, specifically warm and cool colors that would contrast and direct the eye.

Crystal Hot and Cool

The view is so close that you can actually see the thread pattern of the shirt under the glass, which looks like a checkered pattern, in some parts of the image.

I lit the subject with an off-camera LED light. I turned the camera to live view, the first time I'd ever used that mode to shoot, so I could rotate the glass and move the light to find the design I wanted on the LCD without having to waste frames or strain to look through the viewfinder. I don't use live view in general, but this is the type of photograph it's made for. I shot until the battery died, which wasn't long with continuous live view. I managed to make about 30 frames and selected the best three for finishing.

I removed the center pole of the tripod and turned it upside down to get the camera into position. I also set shutter delay mode and triggered from the MC-36 remote release set to a five-second delay to eliminate any vibrations during this extreme closeup. You can see a total of three extension tubes on the 50 mm. I almost had to touch the glass to focus on it.

Lava River

Star Bursts

This exercise was educational because I discovered that, at least for me, shape and detail in an image seem to take precedent over color. I know that the eye goes to warm colors first, but I also see that it prefers detail over color and the balance between the importance of shape and color is delicate. What this means is no matter how hot or attractive a color is, the eye prefers to examine a detailed area foremost.

I rotated two of the images for two distinct compositions. Take a look.

Lava River http://www.joelnisleitphotography.com

For another abstract subject, I chose a maple leaf from our tree in the front yard. Again I rigged a macro platform with my versatile Manfrotto tripod. I used the built-in level to level the legs and then removed the center column and placed it sideways, which enabled me to use the column as a sliding macro rail to adjust focus. If you do a lot of macro photography, I'd recommend investing in a macro rail or bellows, which allow for smoother, finer movements. The versatility of the ball head enables me to position the camera correctly regardless of the orientation of the center pole. The goal is to get the sensor plane as parallel with the subject as possible for sharp detail.

To hold the leaf, I turned to the Plamp, a flexible clamp system. Again I used the LED to illuminate the subject from behind, bringing out the fine textures of the leaf.

Leaf macro setup.http://www.joelnisleitphotography.com

It really pays to invest in a quality tripod. The Manfrotto 055MF3, though now old, is a tremendously versatile rig for anything up to a DSLR with 200 mm lens. Buying one piece of equipment that will last 20 or 30 years is much better than buying the same cheap piece of equipment every two years. How did I get such soft, pleasing lighting using on-camera flash without casting a harsh shadow in the blinds immediately behind the rig? Ceiling bounce.

Leaf abstract http://www.joelnisleitphotography.com

I decided showing the leaf in color was too literal for my abstract goal, so I changed it to black and white and enhanced the detail and contrast in post.

http://www.joelnisleitphotography.com

Above, some colorizing and layer blending in Photoshop CS6 helped me create the effect of blood filling the vessels of the leaves. The effect isn't as complicated to accomplish as it looks.

Takeaway lessons:

Live view is incredibly helpful in macro shooting or when the camera is in positions that make looking through the viewfinder awkward.
Detail has greater control over the eye than color.
Shape is contrast.
Rotate abstract images for drastically different compositions.
Be resourceful with the equipment you have.

Jon & Heather's Beaver Dam Country Club Wedding

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 08 Aug 2014 15:00:00 GMT

Jon & Heather Kroll are a great relaxed couple who had a lot of fun on their wedding day June 21 and despite some rain after the ceremony had a beautiful evening for the reception at Beaver Dam Country Club.

Getting hair done at Mane Stage Salon in Beaver Dam, WI.

Back view of hair detail.

St. John's Lutheran Church, Beaver Dam, decorated for the ceremony.

A quiet portrait of Heather holding still for makeup.

The girls preparing the dress from Edith's Bridal, Fond du Lac.

Close up of the tying.

Mom straightening the veil and giving her daughter one last look before getting married!

Heather's daughter looks off to the side as the bridesmaids watch the ceremony.

The boys suggested a dramatic Godfather look, which turned out to be a cross between "Goodfellas" and "Wall Street" posters. Some black-and-white finishing enhances the mood.

An intimate portrait created by shaping a spontaneous found moment into a designed image. Big soft light is coming from a 64-inch umbrella off camera. Due to rain outside, I made most of the portraits in the church. I made this image on the altar, but creative lighting and processing enables you to focus on the emotion of the moment rather than the environment. If you rely only on photojournalism, or beauty to create itself, how can you get anything interesting on an altar?

Another fun pose created, not spontaneous. Too many photographers rely on the circumstances to give them beautiful moments, light and locations. The problem is they can't do anything when they're stuck inside at an altar because it's pouring rain outside. You need a photographer who can design when given nothing. Heather put a lot of effort into bending for this one, but again it's something you can do anywhere and make look good.

Cake by Recheck's and floral design by Gene's Beaver Floral in Beaver Dam, WI.

When the storm broke, I was able to capture Jon & Heather enjoying some personal moments in beautiful light with the gorgeous Beaver Dam Country Club grounds in the background.

I like to use a three-point lighting system to ensure beautiful dance moments. Thanks to my systems for lighting and focusing, I never miss, even in the darkest dance hall.

I take advantage of personal elements for ring shots whenever possible. Each ring shot includes a flower from the couple's arrangements.

Congratulations Jon & Heather Kroll! A beautiful wedding and thanks for choosing me to photograph it. For wedding photography, please contact Joel at 920-219-2020 or email.

Purple Coneflower Studies - Horicon Marsh Nature Photography

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 07 Aug 2014 15:00:00 GMT

I don't make as much time for personal photos as I'd like, so I'm posting a quick study I'd been wanting to do on some purple coneflowers at the Horicon Marsh. My goal specifically was to create at least one good study image of this flower.

When most people go out to photograph, they hope to find an image. When I go out, I expect to craft an image, and my standard for what I'll take home is much higher, which is why it took two evenings, about one total hour of shooting, and several pieces of gear besides the camera and lens to make something I was satisfied with. Let's walk through the photo from the original capture to the final image via Lightroom and Color Efex Pro 4 and discuss equipment and techniques used.

08052014_Purple Coneflowers-3 http://www.joelnisleitphotography.com

Original RAW conversion unedited.

To create the negative, I set my file quality to RAW of course (why RAW?), ISO to 400, used my Sekonic L-758 incident meter on the front of the flower (bottom portion in image) pointed to camera at f/5.6 to get 1/160 exposure. My wife held the white side of a 32" reflector just a couple of inches in front of the flower to fill the shadows with soft evening light.

I set up my Nikon D700 and Nikkor 70-200 2.8 VR lens on a tripod. I brought the Plamp -- a plant clamp anchored to the tripod to hold plants in place -- but I don't remember if I used it for this image.

Since I was using a 36 mm Vivitar extension tube for macro, I kept focus to manual and focused with a combination of physically changing the camera-subject distance and turning the zoom ring; the extension tubes do enable auto-focus, however. An extension tube is an inexpensive, glass-free solution that enables a lens to focus much closer than its minimum focus distance.

I wasn't concerned about white balance with RAW, but I used a ColorChecker Passport so I could correct in post. Nor was I concerned with getting the petals in focus. I used shallow depth of field to defocus the background and achieve reasonable shutter speed without boosting the ISO to noisy levels.

Flowers-1088 http://www.joelnisleitphotography.com

The ColorChecker Passport contains a spectrally neutral white card, which can be used as a reference in post to select accurate white balance and thus improve color. You can use it to create a custom WB in camera, or simply take a properly exposed photo of it and reference it later.

08052014_Purple Coneflowers-2 http://www.joelnisleitphotography.com

Lightroom edit of the original RAW file.

In the Lightroom edit, notice cropping to eliminate distractions and direct the story to the flower. I also removed dust spots, applied some contrast and color enhancements through black points, clarity, vibrance, minus saturation, tone curve, auto lens corrections, sharpening, NR, white balance and color profile.

08052014_Purple Coneflowers-1 http://www.joelnisleitphotography.com

Finished edit using Color Efex Pro 4.

Enhancements in Color Efex Pro 4 included pro contrast 35%, detail extractor 25%, darken/lighten center to darken the background and pop the flower; vignette and vignette blur to help the background recede further, and slight removal of yellow color cast to avoid it printing too warm, even though it was sunset. You would think to use brilliance/warmth to enhance the colors, but with an accurate negative and proper color management, that tool is rarely necessary.

Note that I didn't use Photoshop. I achieved the print image with simple adjustments in LR and Color Efex, both of which are easy to use and inexpensive. I reserve Photoshop for heavy pixel manipulation, such as portrait or landscape retouching, and when I think layers are necessary. For most images, Photoshop is unnecessary.

08052014_Purple Coneflowers-3 http://www.joelnisleitphotography.com

Original

08052014_Purple Coneflowers-1 http://www.joelnisleitphotography.com

Finished

Take a look above at the original and finished images. I like the colors, the soft glowing light and the richness of the print image. By placing the flower on the right and isolating it to emphasize the color contrast and detail, I created something I learned from International Print Competition judging called "command to look," something I already had been thinking about but didn't have that specific name for. Every image should have a command to look, a home, a place to go. Now you know a little more about how I make a photograph. If you want to learn more about elements of successful professional images, tune into the last day of IPC judging live at stream.theipc.org and create an account.

Jeff & Stephanie Wedding Lakeside Park Fond du Lac June 14, 2014

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 14 Jul 2014 15:00:00 GMT

Photographing Jeff & Stephanie's wedding at Lakeside Park in Fond du Lac June 14 and reception at Brownsville Community Center was a great experience. They're a very friendly couple, and the hunting theme really came through their wedding. Here are some highlights.

Most of the images you'll see I photographed with the Nikkor 70-200 VR lens.

Some shots of Stephanie's dress from Edith's Bridal, Fond du Lac.

A little walk down the "aisle" at Lakeside Park, Fond du Lac. What a special moment.

A nice wide shot featuring the full wedding party. They couldn't have asked for a more beautiful day.

My favorite portrait of the couple! I like the depth, tonality and detail, and the quality of light. You'd never guess, but this is a lit shot, meaning I brought in a portable studio light (Alien Bee) inside a 43-inch umbrella off-camera to the right. And it's not posed. Before taking this shot, I went to grab a lens I had left in my bag, and when I came back this is essentially how Jeff and Stephanie looked, so I told them to just keep having that moment.

Again just going with the natural moment, but using the Alien Bee light and Orb soft box off-camera right. All shot with the Nikkor 70-200 VR, Nikon D700 body.

A quick shot of Stephanie's flowers from Woods Floral in Fond du Lac.

Another favorite sequence was the dip in front of the fountain. How elegant! Again lit with the Alien Bee rig. For you non-photographers, an Alien Bee is a portable studio light.

Same as above but featuring more of Stephanie's hair done by Jessica Stumbaugh.

Reception at the Brownsville Community Club. Cake by Jamie Pittman.

How often do you get a good shot of the tunnel of love? I had to go overhead for this one.

Jeff & Stephanie share their first dance in front of friends and family.

I think this ring shot says a lot about Jeff & Stephanie. The hunt is over! Congratulations. What a great couple and a great wedding to photograph. Glad I could be of service. Thanks to Jeff and Stephanie for their support. Please check out my wedding services for more information.

What Is White Balance and How to Use It for Better Color

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 01 May 2014 18:43:38 GMT

Not all secrets to better photography are complicated. White balance is one of the easiest fundamental things that you can do right in camera to instantly create a better image from the start with less post production time. Let's look at what works and what doesn't for good white balance.

First, understand that white balance is the camera's way of correcting for different color temperatures of light. The human eye and brain work together to automatically correct color under any conditions, so under any light white looks white to our eyes, but cameras can't do this, so they need the help of white balance to tell them what to correct for and how much.

Each light source burns at a different temperature, from blue to orange to green for most light sources. The sun is a fairly neutral source, which renders colors as they are. Tungsten light bulbs, however, burn orange and without correction the camera will record objects in tungsten light with an orange color cast. To correct for color cast, in this case tungsten, you need to set a certain white balance that tells the camera to compensate for the orange by adding a certain amount of blue.

D300

Ever get an image that looks orange? It's not uncommon because most people shoot a lot of photos indoors at parties, where the light is usually tungsten, and they're not aware of white balance, so they use auto or daylight, which will render tungsten light orange.

D300

To get better color, set the correct white balance. While the white balance in this image is near perfect, the lighting is not ideal as the subject is lit by two different light sources: tungsten from the front and daylight from behind. Correcting for the tungsten light leaves the daylight to turn blue. When possible, do not mix light sources. Shoot under one main light and set the white balance for that light.

Auto WB

There are a few ways to set your white balance using the WB control on your camera. The most common, and the most often incorrect, is auto. This simply tells the camera to choose based on what it sees through the lens and it's often incorrect since many scenes don't have white to give the camera a reference point. Auto mode is OK for daylight, and it can get you in the ballpark when you can't identify the light source, but there are better and equally easy ways to achieve correct white balance.

Match the Preset to the Source

Another method is selecting a preset other than auto, indicated by a symbol, such as the sun, a light bulb, or lightning bolt for flash. This is better than auto because it tells the camera what light source you're shooting under so the camera has a precise idea of what to correct for. Set the symbol to match the lighting condition you're in, and you'll instantly have better results than auto, but still not perfect.

Kelvin Scale

An even more precise method is to set the degrees Kelvin, which is the measuring unit for color temperature, to match the Kelvin of the light source. This requires knowing what Kelvin temperature the light source is. You'll need experience, or a chart, to set the correct Kelvin. For example, daylight is typically around 5500K, give or take a few hundred. Tungsten is typically around 3000K. By setting the Kelvin, the camera can record even more precise color than some presets, but still not perfect.

Custom

To achieve nearly perfect white balance, you need to do a custom white balance. This requires a neutral target, which must be manufactured for this specific purpose. Follow the camera manual's instructions to set up custom white balance and then take a photo, properly exposed, of the neutral target. The camera will indicate whether the image is good or not. When you get a good image, simply start shooting with that custom white balance setting. You'll need to do a new custom for each light source when you encounter it.

Neutral targets are readily available at major camera stores. They include cards, discs and objects that you can place in the image for reference in post production. The one I use most is the ExpoDisc 2.0 from Expo Imaging. I also use the X-Rite ColorChecker Passport. Other tools include the Spyder Cube, Gary Fong dome and spectrally neutral gray cards.

D300 The X-Rite ColorChecker Passport is a portable color calibration target. It contains three cards: a color checker, warming and cooling patches for landscape and portrait work, and a neutral white card for custom WB in camera. Above is the color checker portion, which can be used as a reference for correct white balance in post by clicking the white patches with a white balance picker, as well as creating custom camera profiles, which automatically correct color for a given spectrum of light (requires RAW files).

Below is a series of images showing a subject photographed under the same light -- a continuous light balanced to 5600K -- recorded using different white balance techniques. All settings remained the same except white balance. The images were not corrected for color in Photoshop.

Accurate whites and skin tones are especially important in portraiture, so being off even a little bit can make post production more difficult, and sometimes it's difficult to see how bad colors are until you compare them to colors you know are correct. The image created using the ColorChecker Passport for custom white balance is the most accurate. Although auto is good, on a calibrated monitor you'll probably see a bit too much blue creeping in.

Getting white balance correct in camera is especially important when shooting JPEG because a JPEG image is finalized in camera, leaving almost no latitude for correction later. White balance is less of an issue with RAW because you have unlimited latitude for correcting it later, but incorrect white balance will still add time to the workflow and doesn't work when you're showing clients images on the LCD as you make them.

Just because I covered a variety of methods doesn't mean you need to use them all. Accurate color with white balance is easy to achieve just with presets, which are better than auto. Custom white balance may seem like too much work, but it's so simple to do in camera and it just requires one extra shot to save minutes or hours in post production. Most professionals use some form of precise white balance technique every time they shoot. It's simple, but not all secrets are complicated.

Exercises Using Manual Flash

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 18 Apr 2014 23:30:00 GMT

Today I woke up, saw the sun, and knew that I needed to set my camera to 1/200, ISO 100 at f/8 and flash at 5.6 feet, 1/8 power, with subject in open shade to overexpose the background by one stop and get -1 illumination on the subject. I literally woke up thinking about it and then went out and did it, and you can see it below. Everything you see in this article was done using full manual everything, no metering, no checking, no histograms, no blinkies. Just knowledge.

lighting tests-1 http://www.joelnisleitphotography.com

Even though the background was overexposed one stop at f/8, I still needed f/8 from the flash because aperture governs flash power as well as ambient exposure. Correct illumination from the flash requires light that matches the f-stop set in the camera, regardless of what the background exposure is. However, for testing purposes, I put out f/5.6 of light from the flash, rendering the subject -1.

Then (below) I put the subject in full sun between me and the sun and, using only distance and power, knew the subject would be even with the background. One shot, everything in manual, no metering. Why manual? Look at the subject: white shirt, dark hair, dark background. The camera and flash won't know what to do. Moreover, I don't want the camera controlling the image and making decisions. And notice the background. Even at f/8 it's out of focus. Why? Because my subject-to-background distance relative to subject-to-lens distance and telephoto perspective throw it out of focus.

lighting tests-20 http://www.joelnisleitphotography.com

How's that for fast manual flash? I'm not talking about the lighting pattern. Obviously this isn't a client portrait. But look at the illumination, the rim light, the exposure of the background, and catchlights in the eyes. Without flash, the subject would be in dull shade, and without knowledge, you'd be struggling to get a good picture.

Let's take another look. Below is just the background, overexposed about one stop. It may not look overexposed, but it is. One stop is not a huge difference when you're making something very dark a bit brighter.

lighting tests-2-2 http://www.joelnisleitphotography.com

Now below is the subject in shade with the background overexposed about one stop but no flash on the subject.

lighting tests-3-2 http://www.joelnisleitphotography.com

Now below is the same shot but with proper flash illumination from camera left.

lighting tests-4 http://www.joelnisleitphotography.com

If you want to learn how to do this, please contact me for workshop information. I do small workshops and presentations throughout the year when I'm not shooting. It could be a 1-hour seminar with demonstrations or a full-day workshop. If you'd like to schedule a program, please contact me. I'm happy to share my knowledge and skills to help others improve their photography.

Jeff & Stephanie Engagement Lakeside Park

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 14 Apr 2014 13:00:00 GMT

A few highlights from the engagement session of my wonderful clients Jeff and Stephanie at Lakeside Park in Fond du Lac. I'll be photographing their wedding in June and we'll have a lot of fun!

On-Camera Speedlight Diffusion Methods Compared

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 08 Apr 2014 16:43:45 GMT

Good use of off-camera lighting, including natural, will always be best in my book. Let's just say that on-camera flash is all you have. That doesn't mean you still can't get good light. There's a lot you can do to improve on-camera light and impress your friends or clients.

I've prepared a series of sample shots demonstrating on-camera flash techniques and modifiers. Before I go into technique, I'll explain the setup. I had a very compliant model. I set my camera to manual mode, ISO 800 (I thought I had it set at 200 but half way through the series I realized it was 800 and didn't feel like reshooting), 1/125 second @ f/5.6. Due to various modifiers and bouncing, flash was set to TTL -0.7 for every shot (compensation accounted for dark hair). I also used a tripod and manual focus on my 50 mm f/1.8G DX lens. I used the Nikon D300's Sepia 2 toning to eliminate color distractions and all of the shots are JPEGs out of camera.

Study the results carefully, looking for direction, softness, and catch lights in the eyes. Notice the changes in each sample. The background changes (due to falloff), as do the highlights, shadows, direction and catch lights. Each technique produces a different pattern of light, sometimes minor, sometimes major. Learn to see the differences and anticipate when they'll occur.

direct on-1 Direct on camera.	up card-1 Ceiling bounce, with built-in bounce card.
up bounce-1 Ceiling bounce.	45 back-1 Backward, 45 degrees up.
side left-1 Side bounce, left.	stock forward-1 Direct, Nikon diffusion dome.
stock up-1 Ceiling bounce, Nikon diffusion dome.	Lightsphere up-1 Gary Fong Lightsphere, ceiling bounce.
Lightsphere side left-1 Gary Fong Lightsphere, sideways left.	faux bracket-1 Faux bracket (hand-held to camera upper left with remote trigger).
classic two thirds soft box-1 Off-camera 28" soft box, loop pattern.

Techniques

The fundamental problem of on-camera flash is no matter what modifier you use, and in almost every bounce position, on-camera flash is almost always broad front lighting, the one thing professionals generally want to avoid. The look changes slightly, but it's still front lighting.

Traditional portrait lighting is off camera axis at about 45 to 90 degrees, which of course on-camera flash can't do. There's a way to solve this, and that involves side bouncing. When bouncing flash from the side, the mistake most people make is shooting the face straight toward the camera. This creates split lighting, with light on one half and shadow on the other, which is a result of not understanding lighting or posing. The key to side light is turning the face away from the camera in what's called a two-thirds view (the position shown in the photos). Then simply point the flash in the direction the face is looking, and the light will bounce back into the face and light across it, creating a more pleasing look. Of course, the other problem is the light will pick up whatever color it bounces off of, so make sure it's white, or you'll have to convert to monochrome to save the image.

Notice that side bounce is the only method in this series that mimics window light and produces pleasing catch lights. I threw in the soft box only to show why I like it better than all of the on-camera techniques. There's no comparison to on-camera flash and soft box when it comes to quality and control. Notice how the soft box sculpts the face and throws big beautiful catch lights into the eyes, and it prevents light from spilling onto cluttered backgrounds.

On-camera flash isn't always bad if used well. Sometimes it's all that's possible, in which case good use of bouncing or modifiers is better than direct flash. There are two ways I bounce flash: off of a side surface from the direction the face is looking, or straight up to the ceiling with a diffuser. Nothing else is worth the fiddling for me.

Diffusers

The market is so filled with products claiming to be the best diffusers, and everyone grasping for the latest and best diffuser, people lose sight of the biggest problem: No on-camera modifiers solve the problem of the flash being on camera. You're always going to have a bit of an on-camera look.

Stop expecting more of a diffuser on camera. It's not magic. It's a quick marginal enhancement of direct bare flash. If you're to the point where the only thing left is on-camera flash with a diffuser, understand that the best scenario is already out and what you're trying to do is get better photojournalistic flash, not beauty lighting. A diffuser is a diffuser is a diffuser. It's a great option C, D or E, but it'll never beat your A lighting.

That said, both the stock diffuser and Lightsphere produce good results, better than most of the other techniques, but not better than directional light. If you can tell the difference between the stock diffuser and the Gary Fong Lightsphere, let me know. This is the second test I've done where it hasn't really made a difference. The main thing I have noticed about the Lightsphere is it may produce slightly less specular highlights and softer shadows, but is it worth the money, weight and battery drain compared to the stock diffuser? I can't say I'd buy it again or recommend it, nor would I invest in any other diffusers for on camera.

The main problem I have with Fong's Lightsphere and Light_whatever products is not in how they work but in how they're presented. Early videos showed Fong comparing the Lightsphere to direct on-camera flash. Anything will be better than that. A more recent demo shows him comparing the Lightsphere to a bunch of diffusers and the camera is vertical so the flash is to the side, which is ridiculous as pros generally want to avoid shooting a vertical shot with on-camera flash pointed directly at the subject. The head would at least be pointed up or to the side to minimize the side shadow. Since the Lightsphere is omnidirectional, and Fong points it 45 degrees up, it's not tremendously important where it is in relation to the camera, so while it demonstrates that the Lightsphere can produce a better result in a bad position than most other diffusers, it's also only one position, one that many diffusers are not meant to be used in. The demo can't help but make the Lightsphere look better. I get it. The Lightsphere does its job. I just don't think it's that much better than the Nikon diffuser and some of the presentations could be more fair.

Summary

This is not a comprehensive overview of all on-camera methods and modifiers. I'm talking only about on-camera flash. Obviously off-camera flash is a whole different story and a variety of Speedlight modifiers and diffusers for that are worth exploring if you're serious about light. If you want the best light, learn about lighting and posing and look for directional, quality light. If it's not there, learn how to make it with artificial light. Get the light off camera when possible. When you can't, understand the limitations of small Speedlight modifiers, and understand the direction, quality and pattern you'll create before you take the shot.

Three Ways to Instantly Get Exact Exposure

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 31 Mar 2014 12:00:00 GMT

As exact exposure remains a struggle for many hobbyists when it doesn't need to, it occurs to me that a few quick rules of thumb may help. While matrix metering is a handy tool, there are often better ways to meter. There's no substitute for understanding metering and exposure, but these three tips can get you an accurate exposure quickly and consistently.

Sunny 16: An oldie but goody, the sunny 16 rule is always accurate when used correctly. On a sunny day, with no interference from shade or clouds, the correct exposure for any scene is a shutter speed of 1 over the ISO at f/16. If your ISO is 100, then the correct shutter speed is 1/100 and aperture is f/16. Using the law of reciprocity, you can vary this exposure to get the same result with different settings -- for example, ISO 100, 1/200 at f/11. With this rule, you always have a perfect exposure starting point on a sunny day without having to do any metering. The best part of knowing the correct exposure for a light source is it's constant regardless of where you point the camera!
Hand-held meter: Nothing beats the accuracy of a hand-held incident meter because it gives you the correct midtone exposure for any source of light with the push of a button. It measures the light falling onto the integrating sphere of the meter and is not distracted by color or tonality of subjects. Hence, when getting a reading for a given light source, a black subject will expose black and a white subject will expose white. It takes a couple of seconds to meter and put the settings into the camera -- literally maybe five -- but the benefit is there's zero guessing and you can immediately shoot with confidence without having to chimp. To use it correctly, place the meter's sphere in the same light as the subject -- in front of the subject pointing back at the camera if possible.
Spot meter: Using the camera's spot meter to measure a subject of known reflectivity can get you an accurate starting point sometimes more quickly than using a hand-held meter, and usually more quickly than matrix metering an entire scene and guessing as to how the camera will render it. The key is knowing how to compensate if necessary. If you meter a subject known to be 18 percent gray, such as caucasian skin, the reading you see in the camera will be the exact correct exposure. This is why photographers sometimes meter gray cards. There are other ways to use this: Meter a highlight -- bright white object -- and increase exposure 2.5 stops to make sure you record as much detail as possible without losing highlight detail. This doesn't guarantee shadow detail if the scene is outside the camera's dynamic range, and it's more of a landscape than portrait technique. Make sure the object being metered fills the focus point and a significant area around it. The longer the lens, the more accurate the spot will be.

I know the camera's reflective meter is meant to give you quick results, but the problem is everything reflects differently and the camera averages everything to 18 percent gray regardless of what tonality it actually is. This leads to inconsistency, guessing, frustration and lack of confidence, and without a known subject or hand-held meter, you don't know whether the exposure is 100 percent correct or not, even if it is. With a few more exposure skills in your kit, you'll be better equipped to nail those shots perfectly every time.

Why Photography Is so Easy to Do yet Difficult to Master

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 17 Feb 2014 14:30:00 GMT

Photography has an inherent false ease of entry. Without understanding anything, you can pick up a camera and make a picture.

This is certainly an exciting gift. And certainly if the camera is doing the recording, it must be responsible for the quality of your photos. After all, why would you need to know anything about photography when the camera makes the calculations? You've already done the hard work of seeing something exciting, and you assume the camera sees the same thing and shares your passion and vision, and all you need do is press the button.

But chances are you, along with multitudes of other beginners, realize after repetitive disappointment, despite the tremendous technology built into DSLRs, that something else is going on, something you're not quite grasping. Also, some photographers make interesting images out of things that in reality are uninteresting. What gives?

That would be the photographer.

Imagine a great painter, Claude Monet, for example. He steps outside to a beautiful garden with willows and water lillies. Since he doesn't have a camera, he must render his vision in paint on canvas. But what is it that makes the finished painting so interesting and compelling?

Perhaps it's color, the way different values play with each other, shape and perceived form and depth, and -- dare I say it? -- intelligent design.

Did the painting design itself? Did the brush decide what paint to put on? Did the easel create the composition?

No. Monet didn't simply hope the equipment knew what it was doing or what he wanted. The canvas was just a canvas. The brush was just a tool. Monet chose what brush to use, what paint to put on the brush, what design to brush onto the canvas and how. In those decisions, not the equipment, lies the art of painting as much as the art of photography.

This is the way professionals approach photography. You can't just throw gear at something and hope it all turns out. But it's easy to think you can. Photography lends a false sense of ease to image making, where it's easy to expect that a light recording machine with a built-in scene recognition matrix meter will simply render a scene as amazingly as it looks and feels to you. It's all right there in front of the camera, so why can't the camera just reproduce something exciting exactly the way you saw and felt about it? A few reasons.

The human eye sees a great deal of detail, a wide angle of view, with everything in focus and essentially all ranges of brightness perceived, and colors always look accurate no matter what the light source. It's an incredible machine.

The camera, however, is a limited machine by comparison. It can record only a fraction of the range of brightness the eye sees. Different lenses change the angle of view from incredibly narrow to incredibly wide. Different exposures record the same light in different ways. Colors render differently depending on the light source. And the list of differences is nearly endless.

And there's one other element you might have picked up on: the human element. The photographer feels excitement, mood and senses the drama of light and shadow, composition. The camera doesn't. The way the eyes and brain work together to create experiences is unique to life and something no camera can record.

The limitations are essential to understanding the art of photography. No camera is capable of duplicating the eye-brain-heart experience that we know as reality. Cameras record only a tiny fraction of reality -- an impression of it -- so in choosing what and how to record, the art emerges. If you let the camera make all the choices, you're stuck with snap shots, so if you want anything to do with photography as an art, you need to take control of it.

Good photography isn't about a simple capture of something you see. A snap shot can be, but art is entirely different. It's about filtering reality through a more limited tool set, not capturing what you see but telling a story about it, selecting what to record and how to record it, just like a painter.

So, the game is similar to painting; the photographer's paint is the light. And since the game is similar, the rules are similar. Artistic rules like composition, shape, form, tonality, contrast, perceived depth, design -- all come into play in photography much the same way they did in classical painting. In fact, classical painting is where photography borrowed much of its aesthetic guidelines from.

By selecting light, recognizing its direction and quality, color, by crafting composition, perceived depth, mood and hundreds of other little things, you become like a painter, recording your vision with light instead of paint. You can even use these fundamentals and artistic control to make interesting photos out of uninteresting subjects.

There's a lot more to it than you thought, isn't there? And not much of it has to do with the equipment itself. Like in any art, the equipment is only something you must overcome, and the rules are there to help you remember what makes good art. Not just any photo is good, but there are particular reasons that have to do with undeniable nature. You may not even know how you made a good picture, or even what in particular you like about it, or why your eye wants to examine some things more than others, but if you learn the rules of art, you may recognize some of them in your best photos.

So you see a great photo is not simply pressing the button. A great photo is a story told with light, a series of good decisions made by the photographer about something in reality that could have been just as easily interesting as uninteresting to the naked eye. Just as it's difficult to accidentally tell a bestselling story, or have a computer come up with one, it's difficult to accidentally make a visually compelling photo, and there's no camera that can automatically do it for you. You must decide what to put into the camera and how to visually tell the story you want.

If you want to make better pictures, make better decisions.

Female Cardinal 05072013-0022-Edit-2 Above: The blurred background, the limited contrast range and deep shadows, the narrow field of view are all elements that are too defined for the human eye and brain to experience without the tools of photography. If you were to look this closely at the bird with your eyes, you would see a much wider field of view with much more in focus and a greater range of brightness. Reality is in front of you every day. But when you decide how to filter it through the tools of photography, you're able to tell rich, compelling visual stories in an artistic way.

Winter Snow Texture Study

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 10 Jan 2014 14:30:00 GMT

This is one of maybe a dozen shots I took at sunset in Horicon January 7, 2013. Nothing fancy and not much editing. Just a quick study of the texture of grass and snow. I like the way the grass plays against the grain of the snow and light. I want to revisit soon to capture something at sunset, but I'll show you what when I create it.

01072013_winter marsh outdoors-6

Top 5 DSLR Myths and Sales Pitches Debunked

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 06 Jan 2014 14:30:00 GMT

Combating myths in photography is an ongoing challenge, as marketing and misguided perceptions have created illusions so powerful most hobbyists don't even see them. With perspective on what some of the worst myths are and what it really takes to get better photos, you can not only save money on gear you don't need but advance with the gear you have and make better images to show your friends and family.

#5. Auto-everything is best. This approach represents the problem with the amateur view of photography, which puts equipment first. The problem is equipment has no sense -- of anything. It's a machine. Without thought, feeling or understanding, it does what you tell it to, and if you tell it nothing, it makes an algorithmic guess. There's nothing wrong with automatic features if you understand how they work and their limitations, but they don't guarantee you any better results. There's no auto-art.

#4. You need to buy it new. New gear has its appeal -- the mint condition, the pride of first ownership and the protection of the warranty. It's not exactly as if people blatantly perpetuate the myth that you need new equipment, but at the same time most people probably gravitate toward the new without contemplating what real benefits they're gaining, which I say are few. Also, people who make money on gear, mostly manufacturers, have a huge vested interest in convincing you to buy new stuff. However, when you get past the perceived benefits, you'll realize the used stuff has the same practical benefits as the new stuff when it comes to getting the same job, at a fraction of the cost. You take some risk without the warranty, but there's no reason a camera that with reasonable scrutiny appears to be in good condition will need repair within the period the warranty would've covered, and if it does, it'll likely cost less than the extra you would've paid for the new gear. Scour the used market carefully, and look at the previous generation. You can get older pro bodies cheaper than new entry-level ones. That doesn't mean you'll get better pictures. It just means you'll get a feel for pro tools. Also, having an older model may just give you the incentive you need to step up your skill instead of relying on equipment. It's not about the gear. It's about the story you can tell with it.

#3. Start with more camera so you can grow into it. Actually the opposite is true. The more skills you have, the better images you can get out of the same camera. The time to upgrade is after you've mastered the fundamentals and have developed the ability to use them in consistently and predictably making good negatives. Until you can do that, you're just paying for a slot machine with more ways to play. It's OK to want and get better stuff and cool features. This can be just a hobby and I realize not everyone is interested in learning more, but understand that none of the "stuff" makes you a better photographer.

#2. You need more megapixels: This myth is as much a sales pitch as a product of misunderstanding. It takes just 1.8 megapixels to make a billboard (1.8, not 18). If you're not making prints, a long edge of 1,080 pixels (1.08MP) is enough to display HD quality on a screen. If you are making prints, 10MP is enough for a 20x30 print at minimum photo resolution. Realistically most hobbyists never make prints that large, not only because they're expensive and take up space but magnify the flaws of imperfect captures. If you want more megapixels so you can crop out a portion of the frame, that makes no sense as it wastes the potential of the sensor. Focus on making better negatives, and crop in camera through the viewfinder.

#1. The gear you have isn't good enough. This is perhaps the No. 1 fallacy of understanding. No equipment makes you a better photographer because equipment isn't the thing making the pictures. The manufacturers, marketing VPs and hobbyists work diligently to convince you that spending more is the answer, but professionals aren't fooled. The only result a camera produces is a conversion of photons to electrons (with the addition of audio to electrons in HDSLRs), and whether it's a good picture or not is up to you. People complain about their cameras as if they were slot machines; well, if all you do is pull the lever, you shouldn't expect much from it. It will act like a slot machine until you learn to control it. So is the equipment preventing you from getting the images you want, or are you preventing it from recording the images it's capable of? You absolutely can get good, predictable results every time, with any DSLR, if you know how. Learn photography and discover what amazing gear you already have.

So what do you need? Perhaps the best advice I could give anyone is that better pictures start with better decisions. You have to accept that great photography is work. You must stand on the rules before you make your own creative decisions. It starts with putting good stuff in front of the lens. There's no equipment that converts crap to art. Then it's a hundred little steps: not ignoring composition, not leaving color and exposure to chance, telling a story, using the tools properly, visualizing the result, developing. Good photographers not only learn how to make good pictures but they do the things that good pictures require.

I wish I'd had someone telling me these things 20 years ago. If I'd have learned more from the beginning about the fundamentals and practiced it, I'd be 20 years ahead. Instead, I spent a lot of time and money hoping better equipment would do it for me. It doesn't work that way. You may not have the tools to create every pro image the way the pros do, but unless you have the skill, having those tools won't get you any closer.

Maybe you know you should be getting more out of your gear but don't know how. Contact me for paid instruction or take a class. Learning is different for everyone, but go out and do it, and then practice what you learn. You'll be a happier photographer.

Testing the Sunny 16 Rule: Does It Really Work?

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 02 Jan 2014 19:18:57 GMT

I'm starting the new year going back to the basics of photography -- the "sunny 16 rule" to be specific.

If you don't know the sunny 16 rule, you're missing what might be the easiest and fastest way to get exact exposure on a sunlit subject -- no metering, no guessing. The rule states that on a sunny day, you should be able to set the shutter speed to 1/ISO, choose f/16 and get a perfectly exposed negative. For example, you could set the camera to ISO 200, shutter speed 1/200 and aperture at f/16; or ISO 400, 1/400 and f/16 -- any lens, any camera.

Photographer Tony Corbell recently sparked new interest in this rule during a CreativeLive workshop in late 2013 when he stated that you could calibrate a hand-held meter by using the sunny 16 rule and pointing the meter at the sun and seeing if it read f/16. If it were off, you could adjust it until it read 16.0.

So, is it true? Does this old rule still work with new technology? Of course it does, but to satisfy the non-believers, I went out and tested it for myself so I could show you the results.

First I set my Nikon D300 to ISO 200, 1/200 and f/16 and took some pictures. There happened to be snow during my test, which would have been a challenging scene to meter through the camera, but my exposure was perfect. Using the law of reciprocity, you can alter the sunny 16 settings to get whatever exposure you want, so ISO 200, 1/200 at f/16 is the same as ISO 100, 1/100 at f/16.

I then set my Sekonic L-758 meter to ISO 200, 1/200 and pointed the dome at the sun. Sure enough, the meter read f/16.1. When I tested it again, it bounced a bit between 16.1 and 16.0, which I chalked up to user error in pointing it exactly. So I concluded indeed the rule is true and my meter is calibrated correctly.

As further evidence, I wanted to show you exactly how the images appeared in Lightroom so you can see the settings and histograms. Due to these being screen shots of the files, and differences in monitors, the color and exposure may not appear to be accurate, but look at the settings and trust the histogram. They're accurate. Also, I used auto white balance unintentionally because I forgot to change it to daylight, which I would normally use in full sun. Nevertheless, the data shows I used the sunny 16 rule and the histograms (the graphs in the upper right) show that the negatives are exposed properly and contain all of the detail in the scene, without any exposure adjustments in software.

In the last image you'll notice some of the shadows are showing clipped in the histogram. That tells me the scene might have been outside of the dynamic range of the camera. You'll also note that the histogram trails almost to the right edge, meaning there's still plenty of detail in the highlights. I could have bumped the exposure up a third in camera to push the histogram to the right, and I often practice shooting to the right, but the sunny 16 rule still works, and if I were to bump exposure as a rule, I would have overexposed the other scenes by not trusting sunny 16, especially dangerous if you shoot JPEG.

For your enjoyment, here are the files from camera with just basic color and lens corrections, no exposure adjustments.

D300 Sunny 16-5 D300 Sunny 16-9 D300 Sunny 16-13

This rule is incredibly handy and it's not a matter of guessing. It works because the sun is the same brightness most of the day, and the sun is almost exactly the same distance from the Earth most of the time. If brightness and distance don't change, neither will exposure, and the light falloff between the sun and Earth is so great that any changes in distance due to orbit don't affect sunny 16.

No matter where you go or where you point the camera, as long as the subject is lit in full sun you can use this rule. It's like having an incident meter in your head! Just remember that filters will cut light so you'll need to compensate. When the sun is 20 degrees above the horizon and full, not clouded or overcast, it will work, and any discrepancy is the result of equipment or human error.

With knowledge of the exposure triangle and law of reciprocity, you can manipulate the rule to suit your exact shutter speed and aperture needs. For example, when I'm making portraits of a bride and groom outdoors on a sunny day, I'll know that 1/1600 and f/4 at ISO 100 will give me the same exposure as 1/100 @ f/16. It's simply opening up the aperture four stops and speeding up the shutter four stops, so the exposure doesn't change. What changes is my depth of field, which is my primary storytelling tool. I generally use f/4 or wider when photographing a wedding.

Let's say I don't want f/4 and I want 5.6 instead. That's one stop. So if I close the aperture one stop, I must slow the shutter one stop to 1/800 so the light recorded is the same, so the correct exposure becomes ISO 100, 1/800 at f/5.6. It doesn't matter if it's a wedding, vacation, sports game or family portrait; sunny 16 gives you the correct exposure for a sunny day. Why fiddle around with matrix guessing, reflective metering and exposure compensation when you can just dial in the exact correct exposure instantly and make every shot under the same light consistent?

You can, technically, rely on the rule with matrix metering, but using the camera's meter with the sunny 16 rule defeats the purpose and adds extra steps to making a picture. Under a given light source, the correct exposure is constant and doesn't change. The trick is knowing the correct exposure for that light. Once you do, you can lock it in and there's no need to re-meter. The sunny 16 rule gives you that exposure for daylight. Matrix metering is meant for situations in which you don't know the exposure and need a quick way to find it. If, for example, the camera's meter tells you the correct exposure with an aperture of f/16 @ ISO 200 is 1/800, you know to open up two stops with exposure compensation, but that's a calculation you'd have to make and an unnecessary step since the rule tells you that 1/200 is the correct shutter speed to start with.

While you can use the sunny 16 rule in automated exposure modes if you understand exposure compensation -- which defeats the purpose -- you cannot verify the sunny 16 rule with the camera's meter alone. Some people have tried to test sunny 16 by using matrix metering and a programmed exposure mode, going out to a sunny scene, expecting the camera to come up with settings that satisfied the rule. That won't work because the camera is metering luminance, or the light reflected off of objects and ignores illuminance, or the light falling on objects -- two different things. The light that reflects off of objects is different depending on the object, so it causes the camera's meter to constantly change. Sunny 16 is an exposure for the light that falls on objects and anything under that light will render with appropriate tonality with the correct exposure. If you want to verify the sunny 16 rule with a meter, you must use an incident meter, not a reflective meter.

There's one way to verify it with your camera, other than make an exposure at sunny 16 settings. It involves a gray card. Set the ISO and then pick a shutter speed of 1/ISO; fill the frame with a gray card illuminated in full sun, and see if the camera reads f/16. If it doesn't, it's possible the camera meter or gray card is slightly off, or the card is lit improperly.

Of course sunny 16 isn't for everything and there are creative reasons for breaking away from it. If your subject is in shade, obviously the rule will render the subject darker than daylight, but that doesn't work creatively if you want the subject to look "normal." In that case you would use an incident meter in the shade or meter off of the face to expose the subject to appear normal. The rule is for outdoors on a sunny day only.

Photography rules do work! Feel free to use this rule to calibrate your incident meter. Whatever the meter is reading, dial in the opposite until it reads f/16 exactly. Photography is most fun when you go out and do it. In fact, what I've been doing is outlining a guide for how you can try this yourself. Also, using the sunny 16 rule will help you understand light, the exposure triangle and manual exposure. Go out and experiment with sunny 16, and have fun.

Are UV or Skylight Filters Worth It?

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 25 Nov 2013 14:30:00 GMT

The UV filter: a sales staple of every camera store for decades, but is it also a complete waste of money? Everyone who advances in photography will eventually ask, so let's take a look.

To come right to the point, I stand with pretty much every professional when I say UV filters are not worth anything, not $20, not $150 -- at least for general use. The amateur market may be divided, but that division is less severe when you look at pros, who actually rely on the quality glass of their lenses to make money with images. If you look at most pros shooting, you'll see bare glass, with the exception of a polarizer or some sort of ND when needed.

The simple reason is, in short, I and other pros are experienced enough to see past the sales pitches. We don't want anything in front of our glass unless there's no other choice, and we take enough care with lens caps and lens hoods, and handling, to eliminate damage.

Ansel Adams, the guy who made us crazy about photography and utterly mastered the art and equipment, recommends in his book "The Negative" not using UV filters, due to a reduction in optical quality, unless you're in a severe environment (dusty, dirty, etc). Adams was a stickler for the best quality. I don't know about you, but his assessment is good enough for me.

When I started decades ago I believed in the sales pitches about protection and UV filtering, but I later realized I never actually received those benefits. They were just perceived. However, I did notice consistent reduction in image quality and increased glare. Once I took the crap off, I was able to see that image quality was actually better without it and I could protect the glass myself for free.

Through experience I also realized that it's almost impossible for a bit of dirt or even a light scratch to affect image quality. Once you get over that fear, you'll be in the Matrix and will realize you owe the salespeople nothing, and you'll be improving image quality.

Still, people love to regale you with stories of how a $20 filter saved their lenses from cracking. Chances are you've already heard stories about lenses landing on sharp rocks and maybe even seen pictures of cracked UV filters with captions saying the lens was untouched. Firstly, anyone can take a picture of a cracked filter on a lens and write what they want about it. If the story is true, what they don't emphasize is how the filter came to be cracked; maybe it was with $20 handling. You treat a $20 filter a lot differently than you treat a $1,500 light-crafting tool. Also, there aren't any sharp rocks where I regularly shoot.

Pros know stuff happens. A ninja might pop out of a corner and kick the lens out of your hands onto the pavement. That's why we have insurance. Those who defend UV filters will quickly point out that insurance is more expensive than a $20 UV filter. But it isn't. Two reasons: First, having equipment insurance is not optional when doing photography as a business; it's prerequisite. Secondly, and most importantly in my opinion, you're degrading the quality of every image with the UV filter in exchange for a small chance that one time it might protect the lens from real harm, and that's an expense I don't want. I'll even add a third reason: UV filters protect only from rare front element damage, which is the least important element because it would take a significant scratch to affect image quality, not some tiny feather scratch. They don't protect from a hundred other things that could happen to the lens, but insurance does.

Then there's the "better filter" argument, that a $150 UV filter is better than a $20 filter because it's so clear. So, you want to pay more to put less in front of the lens? That's nothing more than price psychology from clever marketing people. While it may be true the more expensive filters are exceptionally clear, I already have something perfectly clear in front of the lens: It's called air, which is what you'd get if you took off the filter and protected the lens for free!

This is anecdotal, but I didn't need science to make my decision. I needed only my experience and the knowledge that no UV or skylight filter has ever improved my photography, equipment or balance sheet. When shooting with filters, I frequently noticed drops in quality and was continually frustrated with my lenses believing they weren't good enough. When I took the filters off, I noticed immediate improvements in clarity and sharpness. It was like getting a new lens. I then decided I would have to find other ways to protect my gear, and I did.

Cleaning Lenses

As long as we're on the topic of protecting lenses, I might as well answer the question of how to clean them. Everyone wants to sell you a special combination of proprietary cloths, wipes and liquids. You guessed it: You don't need it.

I use one method, and it's the cheapest, easiest method I've found, and it's effective and safe: microfiber and distilled water. As I covered, lens glass is tough stuff. It's not soft plastic. It's hard ground and coated glass from one of the best glass makers in the world. Put microfiber cloth spritzed with distilled water on it, and you can't scratch or erode it. Simply pour the distilled water into a small spray bottle and spritz a section of the microfiber cloth, and then rub the lens in a circular motion from the center out. Then use a dry part of the cloth to finish. Of course if you do have grit on the lens, it's best to blow as much off as you can with forced air or gently wipe it with a damp microfiber to lift off as much grit as you can first to prevent a sandpaper effect.

There are other good ways to clean a lens, but they cost more and this is my favorite method of the ones I've tried. Some of them might be more effective if your lens is super dirty, but for general repeated cleaning I haven't used anything better than microfiber and distilled water.

You can find microfiber cloth packs on sale anywhere -- grocery, auto and hardware stores -- for around $5 to $10, and they're washable; just don't throw them in the dryer or add fabric softener (or dryer sheets). Brand isn't really important as many probably come from the same or similar factories.

Distilled water is free of minerals and chemicals that come in tap water and is about 99 cents a gallon at most stores. You can easily find a small plastic spray bottle, also around 99 cents, to pour the distilled water in and carry with you.

The only drawback to microfiber, and it's a small one, is that sometimes little fibers get left on the lens. You can easily use a little air blower to clean them off, but they won't affect image quality or damage the glass.

With microfiber and distilled water, you can have lens cleaning supplies for the next 10 years for as little as $6. And the microfiber isn't just a good lens cloth. It's exceptional for lifting dirt and water from other gear. Keep a spray bottle and a microfiber or two in your bag and another set back at home, and you probably won't spend another dime on fancy solutions and wipes.

How to Buy a New DSLR Camera Body, Or the Best DSLR for Beginners

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sun, 24 Nov 2013 20:05:09 GMT

Buying your first DSLR is exciting if you're ready to take your photography to the next level. A DSLR represents the pinnacle of professional light recording tools for still photography. It gives you full control over the quantity and time variables of light required to make good images, even marketable images. But without the skill to get the most out of it, a DSLR can also be a tremendous waste of money, which is why you need some help in making that purchase.

Unfortunately, advertisements make amazing photography look easy. Manufacturers target consumers with messages that show soccer moms effortlessly capturing portraits with perfect exposures and skin tones in razor sharp focus automatically. While that may happen sometimes, the question is do you know why it happens when it does, and can you make it happen on purpose repeatedly? If you're relying on accidental results, then does it really matter what camera you get? You're just paying more to play the same slots then.

However, if your goal and reason for getting a DSLR is to take control of your photography and make the images you want on purpose, images you never thought you could make, you need to understand a few key concepts about DSLRs.

The pack is out there right now by the millions buying the latest commercial, desperately waiting and hoping for equipment to get it right, for good images to fall into their laps. The question is are you ready to get ahead of the pack? Are you ready to be in the driver's seat of your photography? If not, a DSLR is only a more expensive way to get the same point-and-shoot results you're already getting.

Equipment Philosophy

Photography is nothing but drawing with light, requiring a quantity of light and a timed exposure. The camera gives you the tools to control that recording. That's it. The rest is features, and everything related to whether or not the image is any good is up to you, the photographer, not the tool.

How is a trained magician able to perform amazing illusions with ordinary objects? The answer is through skill in controlling not only the objects but the audience. He may use gimmicks to aid in the performance of the illusion, but the effect still relies on the magician's ability to manipulate the tools and principles of the art. The tools and objects by themselves are nothing extraordinary. Similarly, the camera is just a tool. Making good art with it requires a storyteller who understands what makes good images and how to craft those images.

Still thinking of spending more on a better camera? I made each of the above images with a different camera, one of which is now worth about $200 used and the other about $1,200. If the camera is so important, so inextricable from the image itself that you're willing to invest blindly in something better, that investment should be something that visually pays off so distinctly that you should be able to tell which camera took which picture. But can you?

Without control, equipment is a slot machine. Millions of people chase the most megapixels, soaring ISO quality, blazing speeds, more buttons, smarter auto modes, the price tag alone. Those things are fun to have, but for what, a fancier slot machine? Those slot machines are already singing. Pull after pull, they're spitting out average, mediocre and just plain poor photos, but just enough decent ones to keep people playing. And then the frustrated cries for help come: "I'm doing everything the camera tells me. I paid more. Why am I not happy with my images? The gear isn't good enough!"

Sigh. Why would you want to just be another player at the slots when you could take control and guarantee more winnings?

If you want to gamble, go to Vegas. If you want to make good images, you must learn to take control of photography, from visualization to exposure to light, color and processing. Think of a photograph as a record of decisions you make as a photographer. If that's true, investing in the equipment two inches behind the camera (your brain) can turn photography from a slot pull into a world where you can design the images of your dreams consistently and predictably. When you have control, not only can you get the desired result but you can protect yourself from sales pitches, gear you don't need, save money and control exactly how much you spend and why.

The Recommendation

The first two major tips you need to know flow from my equipment philosophy: Any DSLR set is capable of producing professional images, including the entry-level stuff, from the first generation to now; secondly, and the reason for the first tip, consistently producing the results you want means understanding, skill and work.

With that knowledge, why would you buy something you couldn't control? DSLRs are designed to be controlled. They'll take all the lousy pictures you tell them to, but what they really want is a storyteller to come along and use them in creative and interesting ways. That's what all the DSLRs talk to each other about when they spend time together in shipping trucks and on store shelves. A DSLR in the hands of a point-and-shoot owner is a sad DSLR that hasn't fulfilled most of its potential as a light recording tool. A DSLR in the hands of a skilled storyteller is a happy DSLR.

My official recommendation for beginners is to give a sad used DSLR a good home and a happy life. Start with a used entry-level DSLR from Nikon or Canon. This saves you lots of money and gives you the tools you need to learn, practice and master the fundamentals of photography.

Then -- and this is the most important -- actually learn photography. As you learn to do more with the same equipment, you'll be rewarded with images you thought only the top cameras could make, and your DSLR will have fulfilled its potential.

Avoid "investing up" into more expensive cameras or categories. It's better to grow out of a camera than buy one to grow into. At least then you know you're advancing, and you can sell it to another beginner who's looking for a DSLR or use it as a backup. If you don't learn, you'll be stuck pulling the slots like everyone else who paid for more and doesn't know how to control it, and your hobby will center more around collecting equipment than making enjoyable images.

You can put a used beginner kit in your hands at about the $300 to $400 level if you shop carefully, below the retail price of a new kit and well below the thousands some people would try to pressure you into spending. Anything more is money you could invest in education, your family or your house.

This should be good news. With a small equipment investment and the effort to learn photography, you can make better images than people without skill who have the latest gear. It's just not a good commercial. And with nobody looking out for you, it's easy to feel that you might suddenly outgrow entry-level stuff or randomly need a high-end feature or more megapixels in case you accidentally figure out how to make a fine art portrait. The less you know, the more likely you are to waste money on gimmicks and sales pitches. That may get your name carved into the donor wall of the Nikon CEO's yacht, but it does nothing to improve photography.

I can't tell you what features you need or which ones are important to you. Bells and whistles are personal things, and if you can't control them, they don't really make your images better. I can only tell you that as a tool for recording light, any DSLR is capable of leveraging all of the fundamentals of photography and producing great images in the right hands. If you want to know more about what sales pitches and myths to avoid, read this.

I'm teaching you this not because I never want you to buy a nice camera or I don't think your images are worth it, but because the best tool you have should be two inches behind the camera. I want you to avoid wasting time and money on cameras and specs you don't need to take better pictures. If you want to play the gear game, you'll have to compete with millionaire pros who have truckloads of gear that will put your kit to shame. Instead, invest in understanding and skill, which are more likely to reward you.

Upgrading

What I'm about to ask is especially important if you're looking to upgrade. If you can answer this question honestly, you'll know what to do. The question is this: Is the camera you have preventing you from getting the images you want, or are you preventing the camera from producing the images it's capable of?

This is a game you have to play -- comparing your ability with the tool's ability. Wherever you find points that don't match, make an adjustment to one or the other until you're maximizing your results. Nobody has to know. Just do it.

If the gap is in your exposure or focus, then you can't get the most out of the sensor you have, and you would have to upgrade your exposure and focus skill to match the camera's capabilities. If the pose is unflattering, a new lens won't fix it. Or it could be that you're finally getting consistently better negatives and now need a better sensor to capture the finer detail of them, or you've mastered exposure and require a camera that responds faster to your input.

I can't tell you whether or how to upgrade, or exactly what piece of equipment is best for you or what feature you need. I can only remind you that the gear is only as good as your ability to control it. Only one feature -- the sensor -- directly impacts the maximum potential quality of the file. Everything else is there as a form of control over what goes into the sensor. Hence, if you don't know what you're doing, getting a more expensive camera is nothing more than getting a slot machine with more ways to play. And don't confuse file quality with photographic quality. You can have a highly detailed, clean file of a bad photograph. However, if you start with a perfect capture, even an entry-level sensor gives that image a lot of potential.

My personal rule of thumb for upgrading is to use equipment until using it no longer makes sense. It may not be pretty, the fastest or the most advanced, but can it still tell the story you want to tell? If you're getting the most out of your existing equipment and only an upgrade can improve your imagery, then an upgrade makes sense. Then look for equipment that matches the quality you demand of it.

If I brag about gear, it's about how old and used it is. I take joy in pointing out that most of the images on this site, as of December 2013, were taken with a 10.2-megapixel Nikon D200, a second-generation DSLR whose top clean ISO is 800, and a smaller percentage were taken with the D300, to which I first upgraded around August 2013 and that makes a nice 20x30. Some images were taken with my D100, a first-generation prosumer DSLR. On top of that, many of the images were taken with a Nikkor 24-85 f/3.5-5.6 lens that I bought more than 10 years ago. I still shoot weddings with this stuff. It's not bleeding edge stuff. It's what I do with it that excites me.

Obviously my approach is needs and skill based. I don't buy gear because I want something, or because I blindly hope it will improve me. If it's something I couldn't complete a job without, then I know it's something I have to invest in. Everything else is a luxury. If you don't take that approach, be warned that gear won't improve your photography or make you a better photographer. Equipment comes off of an assembly line. A great photograph is one of a kind.

Shopping Tips

When buying used, which I usually recommend, shop carefully. EBay provides a large market with buyer protections in place. Pay attention to seller ratings and focus on the shutter count and condition of the camera. The shutter count is like mileage on a car. It's an indication of wear on the camera. You want a used model that functions perfectly. The degree of wear that's acceptable is up to you.

Find the serial number and call it into the manufacturer's support to ask if it's a USA model or gray market. You don't want gray market; the manufacturer may not repair it, even for a fee. You want USA models. If you're not comfortable with eBay, search on Adorama, a highly reputable online supplier that many pros use (including I). It often lists used gear with detailed condition ratings.

Another option for saving money if you don't want used is refurbished items. These have undergone some reconditioning by the manufacturer and should be as good as new. Again, Adorama has some refurbished models, and so do other major suppliers. Wherever you shop, check to see if it's on the manufacturer's list of authorized sellers. Other sellers may be offering only gray market items.

Buying used and refurbished is a lot different than buying generic off-brand stuff. Some manufacturers other than Nikon and Canon do make some good stuff, but Nikon and Canon remain the choices of professionals. That has a lot to do with not only the quality but the breadth of the selection of storytelling tools available and industry support for them.

Summary

I wish I'd had someone telling me these things 10, 20 years ago. I remember what it was like to be excited by what I saw and then wonder why the negative didn't turn out how I'd imagined it, not knowing how an exposure would come out, not knowing how to know. I remember actually believing that the equipment would improve me, and if I got better equipment I could get better pictures, but I also remember the frustration that came with that when it didn't work. I also remember needlessly paying a lot more for brand new gear that 10 years later still works as new (hint to look at the used market). I still dream about getting the latest, best gear. But I realize what got me where I am was investing in my brain and hard work, and making calculated equipment investments that continue to pay off.

Once you master the principles of photography, apply the work, and approach gear as a storytelling tool only, you'll become the master of your imagery -- and a happier photographer.

Looking to buy a lens? Check out this guide.

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Beginner's Guide to Purchasing Speedlights (Flashes)

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 21 Nov 2013 00:30:00 GMT

A question I see often is what flash to get for your camera. For the beginner, obviously I would not recommend paying big bucks for a pro flash. But let's look at what about flashes makes them so expensive or inexpensive, and why you'd need them.

The answer is not exactly simple, but pro equipment is more expensive and considered pro equipment for a reason: It has the features, dependability and functionality pros demand and use on a regular basis. Most people will never understand how to use these features, such as manual flash or wireless flash.

As with any equipment decision, be honest about your ability. If you're taking pictures of your kids, get a flash that reflects that level of skill and use. Don't give into temptation by flashy (I didn't even plan that pun) marketing tactics or juicy features, and don't look at a nice promotional picture and think you can immediately achieve the same thing if only you had the flagship model. Be realistic about what you can accomplish right now with flash. If it's little more than putting it on auto and snapping away, you won't get any more out of a pro flash than a simple consumer model.

Consumers have used flash for mainly one thing since it was invented: general lighting in dark situations, like at a family birthday party, without needing any knowledge of flash. The solution has always been direct on-camera flash, which yields the same look every time: not flattering and sometimes washed out. The washed out part is due to lack of understanding of flash. However, this remains the easiest flash to do. For this type of flash, you need nothing more than a basic unit.

Not to skew the article, but I use only Nikon, so, the SB-300, for example, is a nice upgrade to a camera with no flash or a pop-up, without any extra features or complexity of pro equipment. It enables you to tilt the head up for ceiling bouncing, but that's about it. With just two AAA batteries, compared to the minimum four AA's of pro flashes, it's just a straightforward basic flash with the ability to work with your camera to automatically guess a good exposure, and the $150 price tag reflects that. You can still learn the basics of flash with the SB-300 and an entry-level DSLR and then move up.

Let's say you don't think the basic flash is enough. Ask yourself exactly why you need more, how you'll use it, and whether you can actually make use of it, or whether it's just something that'll make you feel better.

The next step up from the SB-300, other than the almost identical but bigger SB-400, is the SB-700 at $330. The SB-700 is a blend of pro and amateur equipment. It provides the flexibility of a fully rotating head, more power, color balancing gels, and remote and commander capabilities. Some of us are conditioned to believe, mostly due to marketing or peer pressure, that we need these extra features just in case that rare situation occurs where we might use them, or one day we might accidentally discover classical lighting techniques and suddenly vault ourselves into the company of masters. The reality is most people with intermediate flashes like the SB-700 never get past basic bouncing and TTL on camera, mostly because they don't need to and never learn how. In fact, most people don't even understand how automatic flash works.

Still, the SB-700 is what a lot of people who consider themselves advanced amateurs want, so let's look at it some more. If you take away the remote features, what you essentially have left is power and head rotation. Is that enough to justify the more than doubling of price? Do you even know what to do with it or are you planning to learn?

You would need the power, for example, to blast through diffusers or into modifiers, or if you do a lot of bouncing or sculpting of light, which few amateurs do. Many believe they need the power to reach greater distances, but they don't understand that the further the light is from the subject, the smaller and harsher it gets, and the weaker it gets. To get soft, flattering light, you need to enlarge the flash with a modifier and get close. For pros, the power comes in handy mainly when they need to bounce or modify the flash, not necessarily for distance. We understand that bouncing off of a 50-foot ceiling is essentially pointless.

Nikon SB-700 SpeedlightNikon's SB-700 is an advanced Speedlight that works with Nikon's Creative Lighting system and is compatible with DSLRs starting with the second generation. Notice it has no ports for a battery pack or sync cord. Nikon SB-700Pictured is the back of the Nikon SB-700 Speedlight featuring the new wheel selector and updated interface. On the right side is the battery door and wireless eye.

If you have some understanding of flash and what to do with it off-camera, or plan to learn it soon, the remote and commander functions of a flash like the SB-700 can serve you, but only if you have that understanding. Without it, you're just fooling around. Remote TTL is not too complex or difficult to practice. For a hobbyist, it can be fun to experiment with, but again how much will you be taking full advantage of it? It also requires something to command the flash, which means a pop-up, another Speedlight, or an expensive commander unit. It's also ideal to have something to hold the flash where you want it, like a light stand -- yet another equipment investment if you're serious about remote flash. If you already have a remote-capable flash, the SB-700 can be used as either a remote or commander with that unit.

The SB-700 is a nice intermediate flash that I use as a second unit, but if you're not a pro, the older and cheaper SB-600 will serve you almost the same. If you don't need the advanced features of something like the 700, you have my permission to save money and get something more basic. It won't hurt, and if you really want to learn, learn with the basic flash and then when your skills advance buy a flash that can handle more advanced lighting.

Both the 700 and 600 lack some punch and other characteristics of even more professional flashes, like the SB-910 or SB-800. For example, they don't accept external battery packs, which help tremendously with long shoots and reduced recycle times, especially handy when you're firing near full power during a portrait session or wedding. The 910 and older but still reliable SB-800 can accept battery packs.

Also, the 910 can control more flashes than the 700, making it more versatile for remote shooting. The 910 also has advanced manual flash functions making it easier to expose correctly in manual mode. Of course, the 700 and 910 have slicker menu systems to drive all their features, which the basic and older flashes don't. Again, these are things you might not need.

Nikon SB-800Pictured is Nikon's SB-800 Speedlight with attached battery pack. This is considered a pro flash because of its remote abilities, battery pack and sync cord ports, power and head rotation.

You'll notice a pattern with flashes as with any photography equipment: The more control you need, the more you pay. Photographic equipment is nothing but a way to control light. Expensive cameras have more ways to control light and customize the shooting experience, and a bit more detail from the sensor. Flashes are the same. Expensive ones give you more ways to control light and make the experience more convenient, but those are only tools and it's still up to you to make a good picture.

Until you master light and can be creative with it, there's probably no need to go spending on bigger and better flashes that are only really bigger and better if you have the skill to use them. If not, they're not better at all. They're just more expensive. Hoping a more advanced flash will advance your photography without any understanding or work isn't going to help.

There are many other flashes in the Nikon line, such as close-up flashes, an LED movie light, and much older units. I have covered only the three main levels and what you can expect from them -- the beginner flashes, which are just minor upgrades from pop-ups or no flash; the intermediate units that introduce pro features without as much power or flexibility, and the pro units that represent the state of Speedlight art.

Once you determine what you actually need and can use, you can save money by not buying it new. And if you really want to play around with stuff that you don't yet know how to control, get an older cheaper generation. The SB-600, for example, is no longer a current model but it's still a great system on which to learn all the fundamentals of flash at a good price. Good refurbished dealers, like Adorama, can save you money on equipment that works just like new for a bit less cost.

The benefit to name brand units like Nikon is that they're built to withstand pro use, so the used market offers some great deals regularly. You may get a savings of $100 or more on high-end flashes, and even the basic units can be worth buying used. A new flash doesn't work any differently or more effectively than a used one. Scour listings carefully until you find just the right one. You don't see many old no-name flashes around. But you still see a lot of old Canon, Nikon and Vivitar flashes because they last, and you can pick them up for a bargain.

You'll notice that one thing I don't recommend is buying cheap off-brand units like Yongnuo or Sunpak. These units are manufactured to fail. They're designed for one purpose: to satisfy the market who doesn't want to spend on real gear. Can they work? Maybe, it depends, and sometimes. But I've had enough experience to know that saving money on cheap equipment always comes with other costs and eventually you'll just wish you would have paid more up front for a name brand unit. As a working pro, I can't rely on maybe, it depends and sometimes. I always go name brand. The cheap stuff is safe only for non-critical items, like reflectors, lens caps, bags. In my book, life is too short to let something as petty as price get in the way of something that means the difference between achieving a dream and standing in the return line.

As of November 2013, I own the Nikon SB-800 and SB-700, but I would never buy another SB-700 because of its lack of battery pack connector. If I needed a simple background light that didn't require a battery pack, I would go with an older SB-600, and, if it didn't require any advanced features -- for example just a slave eye -- I might even go with an older SB unit or Vivitar manual flash. I keep an SB-80DX around just in case I need a simple manual light for something.

Nikon SB-800Nikon's SB-800 is an older pro flash but is just as capable of producing high-end lighting as the newer units.

SB-800The SB-800 is pictured with an example of the flexibility of the flash head. It can rotate 90 degrees up and 360 degrees around, with varying degrees of tilt.

Hire Joel Nisleit Photography Photo Booth Green Screen From Horicon

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 04 Nov 2013 02:23:16 GMT

On Saturday, November 2, I launched the photo booth portion of my business at Horicon High School. I had put a lot of thought and planning into running this, and the system I developed worked well, better than most expected.

My strategy was to do green screen sessions consisting of four shots, which my software automatically keyed out and laid out into four squares on a 4x6 print. My pricing was $5 per print, minimum of 1 per session, and that turned out to be a good decision. I had initially imagined getting $5 per head, but the night before the event I realized that probably wouldn't work -- at DisneyWorld maybe, but not at a Horicon craft fair. When you hire me, you pay for the event, not for each print. I simply charged per print because this was a promotional launch for me.

I'm not going to describe how to run a photo booth. That's my business. But what I did was use my Nikon D300 on full manual mode, in large JPEG quality because the software doesn't process RAW files, and no post production is necessary. I rented Elinchrom portable lights to provide the main light and used two Speedlights to light the screen. The Elinchrom lights were an incredible system. They pack small and light big. The kit included two lights with stands and soft boxes, plus a remote triggering system, so everything I needed to shoot was in the box.

For shooting, the D300 was tethered to my laptop with a 15-foot Tether Tools USB cable, with Jerk Stopper. The software and printer did the rest. I also uploaded the images to an online gallery so people could order from a large catalog of products with their images.

The results were excellent. Everything worked as planned and children had the most fun. This photo booth is fun for everyone because it's easy and simple and the results are instant. You can watch the images as they come up on screen and then out of the printer. When you just want easy entertainment or something crazy to spice up an event, this is the perfect solution.

You can hire my photo booth service as either a green screen setup or a traditional booth. I provide the props and everything required to make it a fun photo party. I set everything up and tear it down, and I operate every booth to make sure everyone has a positive experience. Every system is user-controlled with a remote trigger or touch screen. This is perfect for birthday parties, weddings, dances, corporate events, school events, fairs, anywhere you want an experience that leaves a positive impression. Just sign up and have a blast. Please see my photo booth page for more details.

Doug Gordon Workshop Chicago Review

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 23 Oct 2013 00:00:00 GMT

This is one of the most exciting blog posts I'll get to make as I got to meet one of my favorite photographers, Doug Gordon, at his wedding workshop in Chicago on October 21, and it was amazing!

It was an exciting honor to meet Doug in person. This is a guy who has studied under Monte Zucker and carved out a fantastic business, doing about 1,000 weddings a year with his large New York studio in addition to tons of portrait sessions and he's no doubt a multi-millionaire. He's a highly awarded and certified photographer who's taught on CreativeLive and continues to shoot and teach the art of posing and lighting and how to restore credibility to the photography industry.

Doug went through his usual inspirational talk followed by lighting, posing and post production. It was great to watch Doug go through flow posing live and see how he finds the light and the adjustments he makes. I've been studying Doug's system for some time so all of the poses were somewhat familiar, but it still was refreshing to see them done live and see how Doug notices the details that need to be taken care of.

I also asked a couple of questions, mainly how to determine height of the light if used. The answer is about at the neck level or a little higher if it's fill. I tend to go a bit higher but that's a simple adjustment. I also asked why everyone uses Lifetouch instead of a real photographer, and his answer was something about Lifetouch giving a commission on portraits, which is understandable but not a good reason to choose Lifetouch. Lifetouch is a giant machine and while it may be well oiled that doesn't make it the best option for school portraits. Any professional can design a system to generally replace what Lifetouch does at much less cost, and Doug has done exactly that in his New York area.

I got to snap a few shots of my own as he went through the bride and groom flow posing sequences. Below are shots out of my camera with just a couple minutes of minor editing in Lightroom. I'm not bragging by any means because these are workshop shots that Doug posed and I simply snapped. They're not the exact product I would shoot at a real wedding because I didn't have the exact angle, light or lens I wanted, but they represent the general idea of what I would provide at a wedding. I also need to point out these shots work, even if they're not perfect, because the lighting, posing and expression tell a story, and this isn't even a real couple. This visual storytelling is what the wedding industry is missing.

There are too many novices thinking they can make it by just showing up and taking pictures. What I'm about to say will surprise you: Anyone can take wedding pictures! In fact, I'd recommend not paying for wedding pictures and having a friend or relative do it for free. What you hire and pay me for is to create a fairy tale story that'll floor you every time you look at the metal print on the wall or open the storybook album. There's a huge difference between taking pictures and creating a story.

(Above: Doug Gordon at right)

20131021_DGWorkshop-3520

Are these workshop images? Yes. Did I take them with my own camera and settings? Yes. Did I pose or light them? No. Do they look awesome? Yes. Why? Because the lighting, posing and expression work. Can I do this at your wedding? Absolutely yes, and in every case a bit better because I'll have the exact lens, angle and lighting I want, and every image will be processed through my eye. Honestly who doesn't want to look like this on their wedding day? You can, if you hire me. It ain't the models. Without a skilled photographer, these models would look horrible.

Doug was using his D4 and a Nikkor 85 mm f/1.4 lens, which is an incredible combo. I used my D300 and the 50 mm f/1.8 (which views like a 75 mm). But at the distances I was at the 70-200 would've been better. I normally use the 70-200 for all wedding portraits. I just didn't feel like lugging it down to Chicago. I was using a minimum ISO of 1000, which you can't tell because the lighting and exposure are perfect. I used spot metering, which Doug recommends and is one of my preferred modes, with some minor manual adjustments because I was too far away to get a perfect spot reading off the face.

Thanks for reading and if you have any questions for me, please feel free to ask.

New Self Portrait and Explanation of Technique

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 25 Sep 2013 23:00:00 GMT

I needed a new portrait to enhance the brand image I'm trying to create for my business, and in the process I thought I'd use it to educate others about photography. Since I am a photographer I knew exactly where to go for my portrait -- my bedroom! I figured if I can't make myself look halfway decent, I shouldn't be in business.

So, here it is.

Joel Nisleit self portrait.Self portrait of Joel Nisleit Photography studio owner.

Now for the technical stuff. Window light wasn't cutting it, so I brought the Wescott Apollo 28" soft box into the bedroom and set it up off camera right. I had the Nikon D300 with my 50 mm 1.8 lens on tripod. I stood next to the door where there was already plenty of empty space on the wall, making sure my position was in line with the front of the soft box. This minimized the wrap of light and created a bit more shadow, which I like. I knew the tan paint would make a nice background and the blue shirt would pop against it -- purposeful color choices, and yes the shirt is that blue. This is as simple as a studio gets and you see the quality you can achieve with control of light, background, posing and expression. The hardest part was not being able to see what I looked like through camera. I used the self timer to trigger. It took many tries to get exactly the pose and expression I wanted.

Inside the soft box was my SB-800 Speedlight with dedicated SD-8a battery pack on a PocketWizard FlexTT5 transceiver. On the camera was the MiniTT1 transmitter and AC3 Zone Controller. I used the Sekonic L-758 light meter to get my initial flash exposure settings. Flash power was set to about 1/8 on manual mode. Camera settings were ISO 400, 1/200, and f/5 was just enough to keep me in focus. Why don't I use 1.8? Couple reasons: shooting a self portrait at 2.8 or lower is difficult because you can't focus through the camera and it narrows the depth of field. Also I don't want to risk any ambient light coming in. The ambient light reading was about 1/13 @ 2.8. By cranking the shutter up to 1/200 and aperture to f/5, I cut out any ambient light and the only light you see is from the single flash.

Now, body position: My body is actually placed contra-basic position with the body away from the light and face toward. However, notice the head tilt is still in the masculine position, about perpendicular to the low shoulder (left) and eyes parallel. This is key. It portrays a bit more fun vs. the classic masculine pose with body toward the light but is still masculine enough. I just did not think a serious, classically strong portrait was right for the image I wanted to portray to brides, which are my main clients. Also, I didn't like the way I looked in it. A female would be tilted toward the front or high shoulder. The head tilt is key. The lighting pattern is essentially modified loop. This is indicated by the small loop shadow that the nose makes on the cheek. Notice also that the face is in 2/3 view, with the left ear hidden, showing the notch of the left eye and the eye lash staying within the skin line. The near eye should be in focus but actually the left eye is in focus.

Again, this is a simple one-light setup in my bedroom. No fancy studio. I took a wider shot of the setup to show what I was working with. One last detail: I was holding a white reflector below the frame to soften my lines a bit. And I did some standard retouching and enhancements in Photoshop and Nik. Even a guy doesn't want to look too ugly in a photo.

untitled-2593

20130925 Joel Self Portrait-2580

This is the original portrait file so you can see how important it is to get lighting and posing correct in camera. The finishing is simple, effective enhancements in Lightroom, Photoshop and Nik. And the receding hairline -- gone! The power of selective cropping. I now look like a handsome guy who might have full hair! And once again here's the finished image for comparison. You can't tell flash was used. Looks like window light, doesn't it? This is because good flash mimics soft directional light.

I hope this shows you the importance of hiring a professional. It's not just about having the right tools. Without control of light, posing, background, expression and the equipment, you cannot make this type of portrait. It just won't happen no matter what gear you have. However, with skill, I can set up a studio anywhere, and I could do the same thing with an entry-level DSLR and lens. If I can make this look good in my own bedroom, imagine what I can do in a more photogenic location! It's an interesting challenge making a pleasing portrait of yourself. I'm satisfied with this one, even though I might do some more retouching later.

Johvanna + Anthony's Milwaukee Art Museum Engagement Photography

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 28 Aug 2013 00:00:00 GMT

Wow! I want to thank Johvanna and Anthony so much for choosing me to photograph their engagement session! Now they have photos like no one else's. These guys are supermodels!

It was a beautiful day August 25 at the Milwaukee Art Museum, a bit windy and warm, but the wind actually helped out a couple of times. Yes, it's sometimes hard to deal with, but that's why there's Photoshop. This was the spot Johvanna and Anthony picked for their photos. When it got dark we discovered that the fountains rose up, so we had to take advantage of it. This caused the session to run late but I apologized and will be making it up to them!

We did our shooting right in the vicinity of the Calatrava building. I tried to make use of the various features of the architecture, including the pavers on the patio. Of course I use posing and direction to get these shots, but what's important is the reactions and expressions that happen after the pose. I think you'll agree the results are fantastic. Take a look!

Martinez Johvanna 08_25_2013_ENG-0363

Martinez Johvanna 08_25_2013_ENG-0498

Martinez Johvanna 08_25_2013_ENG-0570

Martinez Johvanna 08_25_2013_ENG-0612

What a great couple!

Want stunning wedding photography? Please contact me for a free consult about my designer photography.

Joel Nisleit is a Milwaukee wedding photographer with designer flair. He specializes in helping brides who want to feel and look gorgeous in their wedding pictures and value a high-end experience. Contact Joel for services and pricing information.

Why I'll Never Use Physical ND Grad Filters Again

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 27 Aug 2013 14:56:44 GMT

So I had in mind when photographing the Tetons and the Snake River at sunrise that a split grad ND filter might be handy. I brought my Cokin set, which I had purchased many years ago and used before I became a professional photographer.

In my early days I probably didn't realize that the ND filters reduced the sharpness of the image because I never liked my images enough to call them professional, and my largest prints were 8x12's from film. With film, I didn't have the option to zoom in or out of the negative to see its maximum sharpness.

But since then my eye has become more discerning and my skills 100 times sharper, and file quality much better. After this trip to the Tetons in July, after getting perfect captures and zooming into them in Lightroom, I was able to see that adding a Cokin split ND grad actually significantly reduces sharpness. Even though the filter covers the whole lens, the part covered by the dark area is less sharp than the clear part.

I've compared several images of course and the ones without the ND are much sharper than the ones with. There's just no doubt, the ND reduces image quality. This shouldn't be surprising, since Ansel Adams also noticed that filters reduced optical quality (see "The Negative" -- filters).

So, lesson learned. If you want the best quality, leave ND grad filters off the camera. There's not much a physical split grad ND can do that a software one in Lightroom or Nik cannot. The only use I could see is for motion blur, but if you wanted quality you could also just combine two exposures. Software and HDR has eliminated need for physical ND grad filters in most circumstances.

Also, in my experience, not as many scenes fall outside the dynamic range of a DSLR as you might think. It does happen, but usually in more extreme situations. Most of the time a scene falls within 6 stops, even in bright daylight. With any DSLR, you're safe with 5.5, maybe 6 stops at least, and up to 7 or 8 on the high-end cameras.

Believe it or not, the above scene fell within the dynamic range of my Nikon D200. Using the Sekonic L-758, I verified that the range verged on just under 6 stops, near the limits of the D200. Despite the highlights on the water and deep shadows under rocks in bright sun, the D200 was able to capture the full range without clipping. It may look like detail is lost in the highlights and shadows, but technically it's there. It took some adjusting sliders in Lightroom, but that's called developing, an old trick Ansel Adams used.

If your goal is to reduce total light in the exposure and you must use an ND, I would recommend a screw-on glass filter or polarizer. I have not seen image degradation with polarizers. I have not tested screw-on NDs for sharpness, so I can speak only for the Cokin slide filters, but I would guess that the screw-on glass filters are a step up in quality and are less likely to reduce sharpness.

If you decide to use an ND -- if for some reason you prefer a degraded image -- there's a technique for exposure you should know. The purpose of an ND is to reduce light on the exposure. Therefore, when metering manually, you do not open up exposure for an ND like you would a polarizer. My recommendation is to use an incident meter to measure the light in the foreground and set the exposure to that. Adding the split ND will automatically darken the sky relative to the ambient. If you spot meter say for a highlight and open up for the ND, you defeat the purpose of using it.

If you're using matrix metering, adding the ND will influence the total light the camera is seeing. My recommendation there is to take the reading the camera gave you before adding the ND and use that. But, by using software NDs, you avoid this hassle and gain exponential amounts of control over the finished image in ways a physical ND simply can't provide.

Grand Tetons and Snake River Revealed

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 21 Aug 2013 16:09:22 GMT

The wait is over. Here is my newest image of the Tetons and Snake River. While no image can compare to Ansel Adams' famous photograph of this scene, I'm proud to have come back with a few negatives that I think are worthy of public view.

This image was made at sunrise in July. It took careful processing to create something I felt represented the beauty of the scene well enough to share with others. I'm rarely concerned about equipment, but I do wish I'd had a much higher-end camera to capture these negatives just for the additional size and detail they capture. However, the photographic merits of an image are always up to the photographer, not the equipment.

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Shooting the Rev3 Triathlon in Wisconsin Dells

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 13 Aug 2013 13:30:00 GMT

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On Sunday, August 11, I shot finisher portraits for the Rev3 triathlon in Wisconsin Dells. The Rev3 is designed to compete with Iron Man.

Sometimes Craigslist is pretty handy. That's where I found this job and the Rev3 team is easy to work for. It was a long day, getting up at 6:30 on a Sunday and driving 1.5 hours to the Dells and then standing for about eight hours straight with a brief lunch break. But the athletes were doing a triathlon, so I guess by comparison my job wasn't that difficult.

At the finish line, which was in Noah's Ark water park, there was a sponsor wall set up, against which I took portraits for the athletes after they finished. My job was to guide the athletes to the wall and then snap a quick photo. Usually it was just a single athlete but many of them brought in their families and triathlon mates.

The setup was simple: Nikon D200 on manual mode, SB-800 on camera with battery pack, Sekonic L-758 to meter the light. Manual exposure ensures more consistency as the exposure doesn't change depending on where you point the camera. To make things simple, I kept the flash on TTL, since I knew a light stand would've been too cumbersome in the small area and when you're hand-holding the camera you can't maintain subject-to-flash distance with every shot. Flash exposure compensation was -2/3; I wanted fill light, not blast light.

I kept a constant aperture of 5.6 with my 24-85 f/3.5 lens. I adjusted exposure with shutter speed and ISO, and of course TTL flash took care of the flash exposure. It was an overcast day, which made lighting and white balance fairly easy to keep consistent. I was on cloudy WB most of the time, with brief usage of daylight WB. Another part on the D200 broke this time (happens frequently) -- the left battery clip in the battery grip. Now I can't get the left battery out and I have a hard time getting the right one in. This is in addition to myriad snafus.

Simple job: stand in one place for eight hours and take the same shot almost 500 times. But, I'd do it again. You can see the results of my work here: http://goo.gl/XFVBO1. If you would like to hire me for an event, please contact me.

What Adobe Creative Cloud Means for Photographers

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 12 Aug 2013 13:30:00 GMT

Adobe Creative Cloud is here to stay, for now. So you might as well see what it means for you and how it works. I recently took a course on the subject at CreativeLive.com and took the following notes.

First here are a few facts to consider:

Does not run over Internet; installs locally
Documents saved locally, cloud optional
Share files even with those who don't have CC membership
No automatic updates; notifications only
Software must connect every 30 days to verify subscription on month-to-month subscription
Annual contract must connect every 99 days

Pros:

Fewer new features coming more frequently
Sync settings across devices (not very useful yet)
Works on Mac and Windows
Access to more programs for the same price
Don't have to depreciate software on taxes when renting, can deduct whole amount per month

Pricing

Full CC suite:

$50/month for 30 apps, for one year contract
$30/month annual contract if you own CS3-CS5, but price will return to $50 on Aug 1, 2014
$20/month annual contract if you own CS6, but price will return to full on Aug 1, 2014
$75 per month, no contract

Single app:

$20/month per app with annual contract
$10 if you own CS6, price returns to full in 2014
$30/month no contract

The way it works out is if you plan to use 2.5 programs or more, so essentially three, you're better off with the full suite. If you plan to use only one app, or Lightroom plus Photoshop, the single app plan is better, in which case you would subscribe to Photoshop for $20/month with an annual contract and buy the stand-alone LR. LR is not available as single app subscription as of August 2013.

The single app annual contract cost for CS6 would be $240, about the same as a CS upgrade. This is good if you regularly upgrade software. I, however, like to buy software and sit on it for a few years before investing in an upgrade, so I'll be keeping my CS6 as long as it works and as long as there are no major compelling new features. When it's time to upgrade, I'll probably take the single app subscription to CS and upgrade LR separately. If you use all 30 programs, certainly the full suite is a deal.

Hiking and Photographing Hidden Lake in Glacier National Park

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 09 Aug 2013 17:52:57 GMT

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One of the best things to do in Glacier National Park is the Hidden Lake trail, which leads 1.5 miles into the wilderness to a hidden jewel of a glacial lake with sapphire waters nestled in emerald meadows. If you could do only one thing, this is certainly a candidate as it rewards you not only with amazing views but wildlife.

The trail starts at the back of the visitor center. Parking is usually full by 10 a.m., meaning if you don't get there early you'll be circling the lot for a minimum of 15 minutes before finding a spot, potentially a half hour. This is the situation throughout the park. Most people parking at Logan Pass visitor center take the Hidden Lake trail, which is a minimum of 2.5 hours for the average person, so those cars aren't moving in and out like at McDonald's. Parking is one of the reasons the government is considering shutting down the park to visitors' vehicles and going to a shuttle system. Good luck with that. The government can't even count its own fingers let alone run a competent shuttle system in a park.

What they should be worried about is hiring more friendly rangers. You may need to stay 100 yards from a bear, but I recommend staying double that distance from a ranger. I'm not exactly sure what particular bug they have up their craws about photographers, but there's a big one. This is stupid, since photographers like Ansel Adams played a huge part in preserving the national parks and ultimately creating jobs for rangers, and photographs today continue to not only bring visitors to the parks but support the parks, so treating photographers and other visitors poorly will be their own undoing. But be warned; rangers are police, and if you look like any sort of photographer, they will hassle you. Do not make eye contact, and do not feel obliged to talk to them if you're not doing anything wrong. If one hassles you, take his name and and photo and post it, which is what I'll be doing from now on.

The hike to Hidden Lake is somewhat strenuous, but almost anyone can complete it. I you have no experience with what to bring, you'll be safe with about 24 oz. of water and one or two energy bars. In July, I brought a fleece to go over my base layer, but it was totally unnecessary. Once you begin the hike, you'll be warm enough without it. If you're a person who tends to be colder, keep the fleece, but have a way to stow it if you need to take it off. Heavy boots are unnecessary. I had medium weight boots and they might have been a touch too much, but I like a little hardness to my sole and waterproofness. A light shoe is OK, but be warned you'll be crossing several areas of jagged rocks, streams and likely snow. Sunscreen is recommended.

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Yes, that's my tripod. And yes, that's a mountain goat walking past it. Traffic is busy at Hidden Lake overlook, not just with people but wildlife. An opening just to the right of the platform is a great place for photos, however, so I camped out there.

The trail is also in bear country, so bear spray is recommended. There's always people on the trail during the day, but that won't help you if a bear attacks you and not the person next to you. You can't count on other people to spray or deter the bear. On my visit, the trail going down to the lake was closed due to bear activity.

When you get to Hidden Lake overlook, be prepared to encounter mountain goats. It's ideal to stay at least 25 yards from them, but this can't always be helped. As you can see in the image above, not only is the overlook crowded with people but it can be with goats as well. One crossed behind my tripod, and a little one repeatedly crossed the area. They walk the ledge in front of the overlook as well as the meadow below.

With several photo stops and about an hour at the overlook, my total trail time was about 5 hours. The average person could probably do it in 2.5 to 3 without many stops. When you get to the overlook, to the right of the platform is an opening in the trees and a crop of rocks. This is a great place to set up the tripod and shoot the vista. I would avoid taking serious shots on the platform because too many people walking on it creates vibrations in the lens. This problem occurs throughout the boardwalk parts of the trail. The overlook is also a great place to rest and snack up for the hike down.

GYT-928 I made this self portrait of myself on Hidden Lake trail with a tripod and self timer.

Photographing and Preserving the Moulton Barns in Grand Teton National Park

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 02 Aug 2013 13:30:00 GMT

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After photographing the Moulton barns in Grand Teton National Park this July, I became fascinated with these iconic pieces of American history and the landscape that inspires so many photos. It turns out this year is the 100th anniversary of the T.A. Moulton barn (pictured is the John Moulton barn, available today in my Tetons gallery).

John and Thomas Alma Moulton built two barns on Mormon Row around the turn of the 20th century as settlers on a new homestead. The early Moulton family has become known as figures of the settlement lifestyle, and for their network of irrigation ditches. And of course, weathered over a century, the barns are one of the most photographed scenes in the American West because of their idyllic character, iconic shapes and setting in front of the Grand Teton mountains.

The T.A. Moulton barn, the southernmost barn with the pointy roof, is probably the most photographed. Just up the road north is the John Moulton barn, which you see pictured with a slightly more dome shaped roof.

I was somewhat surprised and pleased to learn that members of the Moulton family are active in helping preserve the barns and lead occasional restoration efforts, particularly recently. "The barn" -- T.A. Moulton barn -- particularly has undergone a couple of rounds of restoration and is in need of more. Two surviving Moultons in particular still own one acre of land in the park. You can find out more about their efforts and donate to the restoration fund at www.themoultonbarn.com, the website run mostly by Moultons.

Apparently, Clark Moulton, now passed, son of Thomas Alma, was known to say, "If I had a nickel for every picture that was taken of that barn, I’d be rich." He's probably right. I alone took over 50 frames of the T.A. Moulton barn in one morning. I was so appreciative of the barns and efforts to restore them that when I discovered the restoration fund when I got home I made a donation, so I did my small part.

Inspired by the scenery and a light painting technique that photographer Dave Black teaches, I planned to create my own light painting of one of the barns, namely the John Moulton barn, since it's probably not as heavily photographed as the T.A. barn, but pretty close. It's my own special way of putting a stamp on history. I carried my Brinkmann Q-Beam 2-million candlepower spotlight with me about 2,000 miles from home so that I could make this image.

We happened to have a good sky, so I just needed to get that exposure correct and add in the Q-Beam. It took about 10 tries to achieve an image that I thought would work. But I didn't have enough time or energy to keep running around trying to get every part perfect in one exposure. If one thing isn't right, you have to do another 15-second exposure. So I lit the front, side and foreground in separate exposures and composited them in Photoshop CS6. Exposure ended up being trickier than I'd imagined, and I ended up shooting at ISO 200, f/5.6 @ 15 sec. with the Nikon D200. Enjoy the result.

Finding the barns is easy if you have a park map. Turn onto Antelope Flats road from the main park road (89) and go about 1.5 miles to a gravel road. To the left on that road is a dirt parking area, and the road gives you access to the barns both ways. You may walk around the property, but stay out of other photographers' ways. There's almost always some there, especially at sunrise and sunset. If you go out and photograph these barns, please be respectful of the legacy of these barns and leave the property in better condition than when you found it.

How to photograph the barns is up to you. I can only tell you that there's no one correct lens or perspective. However, I do recommend using the lowest ISO possible and a tripod for best image quality. At sunrise or sunset, my recommended photo times, a polarizer filter won't do much good, but you could experiment with color or warming filters to enhance the colors. I would recommend leaving filters off the lens completely and if you must use an ND, which is unlikely, do it in software. Lightroom and Color Efex Pro 4 have ND filters that are plenty capable of doing better than any physical split grad, and you can also experiment with color filters in software. I do recommend using a hand-held light meter for precise creative exposure.

If you would like me to light paint your homestead, please contact me. Wisconsin has a rich history of farmsteads and a lot of pride in the land, and I'd be happy to help preserve that in a distinct way for you. Imagine having an image like this to preserve and hand down for generations. Light paintings are one of a kind because the light becomes a brush stroke, and no two are alike.

To learn more about photography, please sign up for one of my workshops or just send me an email.

GYT-0108-2-Edit-Edit The Thomas Alma Moulton barn is pictured above. It was an interesting coincidence that we unknowingly photographed the Moulton barns the very month of the T.A. Moulton barn's 100th anniversary. I knew nothing about the history of the barns prior to photographing them. In July 2013 there had apparently been a string of publicity and fundraising events that we missed, but it's nice knowing we photographed the barns during this time.

It's Coming... New Image of Tetons and Snake River

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 02 Aug 2013 00:00:00 GMT

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I'm saving the best for last, which is why I'm unveiling my newest image of the Tetons and Snake River one slice at a time. Hope you enjoy. I haven't seen any image that can beat Ansel Adams' famous interpretation of the Tetons and Snake River when you count both technical and artistic achievement with the impact it had on photography, but I've developed some images that I think are worthy of public view. Stay tuned as I unveil more images from the trip almost daily on the blog first, and then they'll become available in the gallery, which you'll find in the Gallery menu on the site.

Grand Prismatic Hot Spring in Yellowstone

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 01 Aug 2013 14:13:49 GMT

I'm presenting my new images in no particular order, except to build suspense for the best images of the Tetons. For now, I give you the colors of the Grand Prismatic hot spring in Yellowstone National Park.

This image was simply taken on the boardwalk that encircles the spring. Use of a polarizer helped preserve the rich colors of the bacteria that live in mats surrounding the spring.

No digital negative, no matter how well captured, can fully represent the richness of color and texture of a scene like this without development in software, and development is where the art in photography happens. For that I use the Nik Collection, an incredible collection of tools that bring out amazing qualities in correctly captured negatives. Nik Color Efex Pro 4 is particularly a dream come true for images like this. The colors, shapes and textures border on surreal but are actually reasonably faithful as an artistic interpretation goes without becoming a special effect.

GYT-0484-Edit Captured with a NIkon D200, 12-24 DX lens, exposure set to f/6.3 @ 1/160, ISO 200.

To learn more about photography, please sign up for one of my workshops.

Photographing Yellowstone Falls, Yellowstone National Park

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 31 Jul 2013 13:30:00 GMT

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Yellowstone Falls is one of the most photographed locations in Yellowstone National Park. This view is from Artist Point overlook. It's my favorite view. There's no need to hike around the lookout for great photos. The primary variable is weather and light. Use a polarizer to bring out the richness of the colors. The tones in the rocks, trees and water also make this a great black-and-white location.

This is also the perfect place to use a spot meter. I used the Sekonic L-758DR to spot meter off of the brink of the falls and open up 2.8 stops, plus polarizer compensation, to open the highlight and capture the full range of values in the scene. I can also use the light meter to meter the shadows and check the dynamic range of the scene to be sure it falls within the camera's range.

It might be to your surprise that even most scenes like this, with such bright highlights, are within the dynamic range capabilities of any DSLR. I've tested this theory with several scenes, including waterfalls in bright sun, and most scenes in daylight have about 5 to 6 stops of dynamic range. But to capture that range you must meter and expose precisely. Without testing, you can be sure that your DSLR captures at least 5 total stops of brightness. Only calibrating can give you an exact number, and that's done with the Sekonic L-758 and included DTS software.

It doesn't matter how you arrive at your correct exposure, but nothing gives you as exact information as a hand-held spot meter. Trusting the meter and knowing that I preserved the highlight and the shadows fell within the range of the sensor enabled me to get the exact exposure in one shot, so when I pressed the shutter I knew I was getting exactly what I wanted, and I was able to develop the negative to its fullest potential in software (Lightroom and Nik Collection). Without precise exposure tools and skills, you're just guessing.

This is my first interpretation of the negative, and part of the joy of photography will be going back several times, as Ansel Adams loved to do, to reinterpret the negative. Amazingly, I've seen no other shots like this. Most place the falls dead center and are not well exposed or developed. With this composition I wanted to almost de-emphasize the falls so that the eye sweeps the more majestic vista before landing on the falls and its plume of mist. Sometimes you make a great thing greater by emphasizing the scale of the environment around it. One gets a sense of the falls' size and power by using the environment as a scale clue. Of course, this one would be best viewed as a 20-by-30 master print, available for sale soon in my upcoming Tetons-Glacier-Yellowstone gallery.

Photo captured with a Nikon D200, Nikkor 70-200 f/2.8 VR, Manfrotto carbon fiber, MC-36 cable release, exposure set to f/16 @ 1/20, ISO 100 for maximum quality. To learn more about landscape photography, check out Joel's workshop and mentoring.

Photographing the Moulton Barns on Mormon Row

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 30 Jul 2013 23:50:00 GMT

This is what it's like (see image) to photograph the Moulton Barns in Grand Teton National Park. So much photographic fuss is made over these barns -- for good reason -- yet when I finally arrived I was struck by the simplicity of the scene.

Suddenly there I was in front of one of the most photographed scenes in the West, no grand signage, no locked gate, just the barn, some trodden grass, and trees -- and only one of the most inspiring landscapes I've seen, the Tetons. It's not difficult to see why it's so loved. The photo almost makes itself. The challenge is waiting for the right light, finding the fresh perspective, and putting your own creative stamp on it. I was also amazed that the property around it isn't really controlled. This is why I urge leaving it in better shape than you found it. The scene doesn't change much (let's keep it that way) -- just the way it's photographed.

Because of the popularity of this spot, it's challenging to come up with fresh perspectives and interpretations. The reason you usually see the barns from the same angle is because there's only one perspective that frames them inside the Tetons mountains, and that's usually the most interesting.

However, when shooting the barns July 2013 I had only one day to shoot them, and we had spent sunrise shooting the mountains so we didn't get to the barns until later in the morning. We simply didn't have enough days to wait for the best conditions and shoot every location we wanted at sunrise and sunset. And we tried to use the best conditions to photograph the mountains. But the light was still soft, so I made the best of it.

The sky was bland, so I knew I needed an element of interest. There was a stand of trees nearby which you hardly ever see in photos, so I thought it'd be interesting to frame one of the barns with them. I explained my thinking to my fellow photographing family and they decided they liked the idea and took the shot as well. It was a nice "family workshop" moment. We joked about how this is the new perspective that will sweep the photographic community off its feet. Well, I think it's something different. The idea is when skies are bland, you need something else to enhance the image. I think it works.

There are almost always other photographers at the barns, every day from spring to fall, so you can imagine how many times they've been photographed. Maybe I'm onto something here. The barns are easy to find on Mormon Row with a park map. Once you get there, it's totally up to you how you want to photograph them. That's the beauty; there are no rules. Enjoy the scene and the experience, and leave the property in better shape than you found it!

GYT-0108-2-Edit-Edit This is the Thomas Alma Moulton barn, probably the most photographed of the Moulton barns. Members of the Moulton family still lead restoration efforts periodically on the barn. They have a donation fund to which you can contribute here. When you walk around the barn, try to stay on dirt so you don't kill the grass that makes for such nice photos. Turn onto Antelope Flats Road from the main highway (191/89) going through the park. The road runs into a north-south dirt road about 1.5 miles in. You'll know the spot when you see Moulton's pink stucco house on the left near a dirt parking area. Printed guides are available for a donation. Image created with Nikon D200, Nikkor 24-85 f/3.5 and Manfrotto carbon fiber tripod, exposure set to f/16 @ 1/8 on ISO 100, RAW, Nik Collection filters.

Full resolution image will be available in my gallery for purchase soon. I have about half of the gallery finished. There's much more coming, so stay tuned!

To learn more about landscape photography, check out Joel's workshop and mentoring.

It's OK to Stand Where Ansel Adams Stood

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 30 Jul 2013 00:00:00 GMT

When photographing some of the most iconic landscapes this July in the Tetons, I was excited with what I was able to achieve and the experience of being there. I will be unveiling a complete gallery of new images from this trip soon, but before I do I want to lead off with one image and some thoughts about the importance of creativity in photography.

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To learn more about landscape photography, check out Joel's workshop and mentoring.

When it comes to art, I just don't care for rules. There are so many rules in the rest of my life, why on Earth would I want to bring any of those concerns into my art? Creativity is a place to escape rules, to break the imagination free, to stop limiting yourself, and to throw in the garbage the limitations others place on you. There's nothing that can't be done.

How many times have you heard this stupid rule: "Don't photograph from the same spot as someone else?" There's too much of a negative attitude toward this and a lot of other stupid rules. Why do people listen to the same songs over and over again, or see the same movie more than once? It's because good things are worth experiencing again. Until you've shot an iconic landmark, even if it's from Ansel Adams' spot, it hasn't been shot, and nobody has seen your take.

Who's in control of your photography, you or the whiny rule makers? You don't have to make a better picture than Adams to make it worthwhile. But if you do good photography, you'll make a better picture than the whiny rule makers who whine and complain more than they shoot. Also, if photography makes you happy, it doesn't matter where you take it. Adams said, "There are no rules for good photographs. There are just good photographs." The experience itself of beholding grand landscapes is exciting. And no matter how many people photograph the same spot, no two photos will ever be identical. If someone had photographed the parks before Adams, who's to say Adams would not have become famous? Your vision is different, and how you photograph the same angle is different, as is how you develop it.

What if Adam' works are destroyed? What if the scenery changes? What if someone needs a photograph showing exactly what you produced? Not taking the iconic landscape becomes an excuse. Of course moving to different viewpoints is also good, but I would never say don't shoot the iconic ones. I've been to the iconic points. Dozens of trails have been made around them, and some photographer has shot from every spot on those trails at least once. Getting something that beats Adams is going to take a lot more than simply getting off of the beaten path. It'll take a lifetime dedication to photography.

Making a rule never to shoot from a certain spot doesn't guarantee anything positive. So next time you're at a famous landmark, go ahead and take the iconic viewpoint and see what you can do with it. Part of the fun is taking the challenge of reinterpreting a common scene and putting your own stamp on it. There comes a point where nobody is shooting the iconic viewpoint anymore and the fun of it gets lost. Never let a whiny rule maker keep you from doing what you want. Just shoot it, and make it good.

I leave you with the Mt. Moran at Sunrise image. It represents that there's more to come. I will be unveiling each new image with a blog post and then the entire collection will be available in the gallery.

Saving Money With Cheap Photographers Is an Expensive Mistake

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 10 Jul 2013 00:00:00 GMT

It's the day you've been dreaming of. You've invested so much time and money into the invitations, the dress, the flowers, the food, the decor, the place, and it's the start of a new life with your spouse to be. The last thing you want to do is blow the whole experience on a cheap photographer.

I'm in the trenches with you. I see behind the scenes of the industry. I get dozens of inquiries a week from brides looking for full-day coverage and albums for $500, and in a way I feel sorry for them, not because they don't want to or can't pay more but because I know the photographers they'll be getting are the ones who will be posting on the forums next week for help fixing everything they screwed up. Looking for a photographer who will do everything you want for under $1,000 creates problems for you on many levels.

First of all, the sub-$1,000 segment really isn't a segment of the actual wedding industry. Most people in that segment are just people with cameras and who may or may not have an eye for a decent picture but don't really know how to consistently create anything that stands out, from images to services to products. Most have no training and even if they've shot 100 weddings the last doesn't look much different than the first. If you asked them about lighting or posing they wouldn't be able to write a complete sentence on classical technique. Most have no insurance and don't report their income.

There comes a point where you're better off getting a friend to do it free, and that point is right around $500 to $800. The secret that these amateurs don't want you to know is anyone can do what they're doing. The only thing you're getting from them is wedding pictures. Anyone can take wedding pictures: you, your uncle, your BFF. I realize there may always be a place for this market. But realize that they're not giving you anything much different than uncle Bob could do for free. If that's what you want, or if that's honestly all you can afford, I highly recommend you stop your photographer search immediately and get a friend or relative to do it for free, even buy someone a camera set. The results will be close enough to the $500 photographers that you won't notice. Seriously just about anyone with a DSLR and decent lens and flash can shoot your whole wedding and enough of the shots will turn out. How can I say that? Because I see it, and you can too if you look. There's little difference between $500 wedding photographers and Uncle Bob because most of them are the same person.

So why am I saying this? The point is you can pay for a dude with a camera, or you can pay for an artist. Do you want pictures, or do you want a story? There are two types of wedding photographers: those who just take pictures, which anyone can do, including your friend with an iPhone, and those who tell stories. The first has no power beyond simple documentation, and the second has the power to make you look amazing and bring out the full romance of the day. There are two main types of storytellers: my type, which is a director, and the other type, which is a photojournalist. One has as much of a hand as possible in ensuring beautiful imagery, and the other is dedicated mostly to capturing moments as they happen. Neither way is the only right way, but neither type can do both 100 percent. Directors tend to do 80 percent directing and 20 percent photojournalism, and photojournalists tend to do 80 percent PJ and 20 percent directing.

Aren't there some photographers worth $500, maybe good ones just starting out? The answer, sadly, is no. When Starbucks opens a new store, does it sell everything for a nickel because it's new, or does it charge full price because it has the product and experience you want? Good photographers, ones qualified to shoot a beautiful wedding, come into the market with enough training and experience to satisfy clients and thus charge accordingly. Amateurs, however, come into the market hoping to learn everything as they go, with minimal experience and usually zero training, zero insurance and zero business setup, and thus charge accordingly. It's almost impossible to find any crossover. Maybe one in 500 or one in 1,000 photographers in the $500 market are genuinely capable of providing a professional or at least pro-like experience, but most will be comfortable doing weddings for entry-level prices until they go out of business or doing it as a hobby. Most of these people know they shouldn't be charging for weddings, but they do it because nobody stops them and they have nothing to lose. They can just go back to their other jobs. If there are any good photographers just starting out -- and there are -- they're usually under someone else's employ or charging appropriately for a wedding experience.

Are there any sub-$1,000 photographers worth it? That's a broad question. Yes, there probably are, but again other than money is there any advantage in saving that extra $500 or $1,000 when your wedding is costing $10,000 anyway?

There are so many reasons a good wedding photographer is worth it I couldn't even cover them in one article. Here's a few. Ever look at your parents' wedding album? Few do. That's because you know what's there: pictures of people standing flat to the camera smiling and people you don't know enjoying a cocktail. There's a different side to the market -- brides who are floored by their albums every time they open them and whose friends' jaws drop when they see how great the bride looks on her big wall art display.

Then there's the notion of spending a lot on a fairy tale wedding and then trusting a $500 photographer to capture it. Why pay someone to do what anyone can do? For every 100 people who lose a job, one of them picks up a camera and says "Hey, I can do this!" And a new $500 wedding photographer enters the market. You're not paying the sous chef to serve microwave meals at the reception, or a chimp to cobble together your dress out of napkins. This is a wedding! When the food is gone, the flowers fade, and the dress is put away, what you have left can be a pile of snapshots or a beautiful story to bring that magic back. If you blow it on a cheap photographer, you'll be stuck with reunion photos the rest of your life, and the magic won't be there.

Shop for the vision, shop for the service, but be careful when shopping for price. Photography isn't a commodity, and those who make it a commodity hurt everyone in the industry. Professional doesn't mean expensive. It means getting your money's worth. It doesn't even have to be me, and believe me there are plenty of photographers charging much more than I do. It's about something that transcends the products.

I'm not even going to get into the technical aspects of what I do because you can just book an engagement session with me and see it first hand. Call or email me any time from 9 a.m. to 5 p.m. and I'll get you set up. If you don't like the images, you can schedule a reshoot or even go somewhere else. But I'm confident you'll love them. I take care of you. I want to meet you and talk about how I approach the wedding or engagement, what I do to take care of you, and what I can do for you. It should be relaxing, not pressured.

It's not just about pictures. My goal is to be an asset on the wedding day. I'm there to tell a visual story, but I'm also there to respect that it's your day, not mine, and to try to make it easier for you if I can.

I'm not perfect. Like any dedicated professional, I want to constantly improve my images and service, and I continually look to the top photographers and educational resources to do that. But I rely on skill to consistently get images that flatter you. With skill and light, anything is possible.

A lot of wedding photographers would be cringing. Joel, you don't tell your customers why you're worth what you charge. Why? As a member of Professional Photographers of America, I'm responsible for educating people on photography, and part of that is showing you why a professional is worth the investment. I'm flexible, skilled and ready to serve you. If you're going to pay me more, you should know why, and if I can improve my service, I'd like to know. I'm here to serve.

How to Get Amazing Fireworks Photographs

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 08 Jul 2013 13:30:00 GMT

Fireworks photography is one of the themes just about every photographer tries to shoot. But beginners struggle because it defies automated shooting. To make fireworks shooting easier, switch to manual mode and understand a few guidelines that will help you get better pictures.

Equipment

A DSLR is recommended for better manual control and file quality but not required. A tripod is a given, but there are a few other equipment considerations. The choice of lens is entirely subjective. In my example, I used a 12-24 mm, but I could have easily used a 70-200 to change the composition and make the fireworks bigger. With a compact camera, you'd simply zoom until you have the composition you want. In the image above, I composited several explosions into one frame in Photoshop because with the wide lens the fireworks were too small in single frames. If you're at a small show and are closer to the fireworks, 35 mm focal length might be better.

High ISO is unnecessary as you want the fireworks to create trails and you'll be using a tripod, so ISO 100 to 200 works well, no need for an expensive high ISO camera. A cable release is strongly recommended for bulb exposures, but in a pinch you could set the self timer to two seconds, set the shutter speed manually, and use exposure delay mode to enable the mirror to flip up and eliminate vibrations before the shutter opens. There's also no need for any UV or polarizing filters.

Other accessories to bring include a pocket flashlight, rain gear for you and the camera if rain is expected, a piece of black cardboard to cover the lens, and snacks.

Focus

Leave the focus on manual. The rule of thumb is to set the focus to infinity and then back off a notch. Since you're on a tripod and you want the fireworks to spread, a small aperture like f/11 is perfect for bringing the entire scene into good focus. You could also use a depth of field tool (Field Tools Depth of Field Calculator for iOS or ExpoAperture2_Depth of Field_Guide for the pocket) to calculate where to set the focus to make sure the entire scene is in focus. There's simply no need to use auto focus.

Exposure

It's too dark to do any meaningful metering of fireworks, so switch to manual exposure mode. Program mode won't work because the camera will try to expose to make the black sky gray, so the exposure will be too long. Metering the fireworks themselves doesn't work because they aren't bright enough. The burning streaks are enough to register on the sensor, but the explosions themselves aren't enough to light up the whole sky or area or provide a useful meter reading. Instead, rely on the experience of other photographers and use a few exposure guidelines that will get you in the ballpark very quickly as the conditions for shooting fireworks don't change much. Start with the following settings:

Manual exposure
ISO: 100
Aperture: f/11
Shutter: 20 sec. (Use bulb mode and cable release with timer for best results)
Long-exposure noise reduction ON

That's really all there is to a foundation for good fireworks photos. Start with these settings -- with any camera and lens -- and then adjust as necessary. You may think 20 seconds is a long time, but it takes up to three or four seconds just between launch and explosion of most fireworks, and you want multiple fireworks to register on the exposure. A cable release helps because you can hold the shutter open however long you want for each exposure without setting shutter speed or vibrating the camera. You can vary the exposure triangle; for example, use 10 sec. @ f/8. If the fireworks are much closer, 3 sec. at f/8 may work. These are just starting points. You can also experiment with foreground elements, landscape elements, using flashlights to illuminate foreground elements. You can use a black card to block light in between fireworks as you hold the shutter open. Experiment and have fun.

The image you see on this page is a result of about 15 minutes of work between shooting and editing. See what you can do next time you see a fireworks show.

Some other links you may appreciate:

How to Photograph Fireworks Displays Like Joe McNally

8 Tips for Mastering Firework Photography

The Differences Between Professional and Hobbyist Photographers

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 02 Jul 2013 23:07:00 GMT

So many beginners ask, with numerous variations, one basic question: Why aren't my pictures as good?

First of all, don't focus so much on what others are doing as what you can do to make your own pictures better.

Secondly, the answer is as simple as the question: You're not doing the same things pros are doing, and you know it.

Following are 10 things you may be doing or thinking that are holding you back from making better photography.

Professionals: Do what professionals do: Learn, use advice and copy techniques. You: Think what pros practice doesn't apply to the casual shooter. Plan to magically discover everything on your own or just stay a hobbyist.
Professionals: Understand what you put in is what you get out. You: "You mean I actually have to learn the fundamentals, practice them, visualize a shot, get up before the sun rises, scout for locations, lug my tripod and lenses, understand exposure, composition, color, negative space, directional light, texture, impact, story, lines, psychology and post process to get the same result as a professional? That's just too hard and I don't have the time."
Professionals: Vision drives the photographer. Photographer manipulates gear to serve vision. You: Your camera's pictures don't look as good so you need a new one.
Professionals: Get it right in camera to enhance later. You: Need to learn more Photoshop tricks.
Professionals: Understand how to expose exactly for the quantity of light. You: Exposure is just maddening guesswork.
Professionals: Leverage more out of their gear by increasing skill. You: Leverage more out of your credit cards to pay for more gear.
Professionals: Explorers and students of light. You: Student of diffraction charts, forum debates and academics.
Professionals: Light is the main character. You: See light and have heard professionals talk about it, and maybe know what ISO, shutter speed and aperture are, but you're still not seeing light as a separate character that needs to be understood, directed and manipulated.
Professionals: Rely on skill sets. You: Rely on equipment sets, software action packs, luck and guessing.
Professionals: Business owners who specialize in photography. You: Photographer who wants to make money with photography.

Some things to think about before you buy your next piece of equipment:

Have you achieved the highest quality images your equipment is capable of producing? If not, consider whether there are any benefits to spending more on gear vs. education. There will always be technology available, ready to serve your vision when you have the skills necessary to get the most out of it, so there's no rush to buy something now.
Any DSLR is more advanced than anything Ansel Adams used, yet how many hobbyists are creating images greater than Adams'? Is equipment the answer to your problem, or is it you? There's such a strong desire to grab the latest, coolest stuff without ever having mastered the fundamentals that would enable better photos with any camera.
Equipment is irrelevant in pursuit of mastering the fundamentals. It's only after you've mastered them that equipment can play a role in giving your images an additional edge. If you've mastered the fundamentals, you can make a great image with any camera. If you haven't, no camera will help. Cameras are simply light recording devices. Even the most advanced camera is capable of nothing more than what your skills enable it to do. The deciding factor is skill, not equipment.

Beaver Dam Wedding Shoot

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 18 Jun 2013 13:00:00 GMT

It turned out to be a great day last Saturday as I shot a wedding at the Chapel of the Archangels in Beaver Dam and the reception at Old Hickory. I was working as a second shooter for another photographer in the area.

The Chapel is a nice place for a wedding, with plenty of space and many good photo spots. Same with Old Hickory; the golf course provides a lot of good photo opportunities.

Of course, I can take a good photo in any location. I prefer great light and location, but that doesn't always happen, so I can make you look great anywhere, any time. Anyone can put a bride and groom in a great location, bracket the heck out of the shot, and get a good exposure. It would take longer, but you could do it. But what about expression, pose, lighting? What about romance? Those are things amateurs just don't know how to control or bring to a shot. I have the tool set to not only get it done but do it quickly and give you not just one or two but a variety of looks to choose from.

I still cringe when I see the shots some photographers put on their websites and then see the amount they charge. It's painful. You deserve better. Let me show you what I can do. I offer a free engagement session to any couple just so you can see the difference. Give it a try. Just contact me at 920-485-2152 or [email protected].

Professional Photography Secrets

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 17 Jun 2013 13:00:00 GMT

Are you frustrated with photography? Is your camera acting more like a slot machine than a creative storytelling tool? Perhaps the camera isn't the problem.

If I had a dollar for everyone who asked what gear he needed to take better pictures, I'd be rich. And I'd have given the same answer thousands of times: The greatest piece of equipment you could invest in is your brain.

That's the big secret, and it's the least exciting one, until years later when you understand that mastering it will improve your photography light years beyond what gear could alone. If you're asking about gear and don't even know the basic feminine and masculine poses or understand how to light something, what good would gear do?

I went through every struggle a photographer goes through. I started out having images in my mind that I wanted to record. I started with my dad's manual film camera, the Canon AE-1 Program. Man was that thing cool. The sound of the click, the cool lights inside indicating metering, the big numbers on the shutter speed dial going all the way into the thousands. As a child, I was rarely able to record exactly what my mind saw. It took me decades to realize it's actually not possible to record exactly what your mind sees for the simple reason that the camera is not your brain. It takes processing to get it close.

When my dad moved into more automated Nikon stuff, with motor drives, AF and matrix metering, I became even more fascinated with equipment, and I actually assumed that a better camera and lens would get me better pictures. How could it not? It had smart Matrix metering built in! I used to worry about lenses and cameras and getting the best of everything new. Those were expensive assumptions. Again, it took years for me to realize the gear is secondary to skill.

As I learned more, I practiced more and was able to achieve better images, sometimes through luck and sometimes through composition and lighting. But I was never fully happy with my images, and I knew there had to be a way to get the fantastic images in my mind onto a print. But what was it? What were the secrets? What were pros doing that I was not? What did they know and why did I not know it?

When I looked honestly for these answers, that's when my big breakthrough came. I started to respect and understand light. I studied it. I learned how cameras perceived light and how to meter it to get the results I wanted. That included flash, which really opened my mind to the possibilities of light. The more I learned, the more I understood the importance and power of controlling light, and the more that became my pursuit. Gear became less important. As I put each new principle to use, I realized I hadn't even been getting the most out of the gear I had, and with more knowledge I could leverage more power out of my existing equipment. I'd left my pursuit of gear for the pursuit of light. In terms of advancing my photography, that was like stepping off a skateboard and boarding the USS Enterprise. Warp speed, baby.

With equipment eating my plasma trails, the desire for gear is of course still there. Who doesn't want a bigger, better Enterprise? But if you want to travel at warp, you have to realize that gear is only a tool for applying the principles of photography. It's the captain that makes the difference; your brain is the warp core. This is the one principle that truly launched my career as a professional. I'd leaped ahead. It was like being born into a new way of thinking: light -- the photographer's final frontier.

Equipment has been doing the same thing since photography was invented: recording light. And light has been doing the same thing since it came into existence: illuminating things and creating shadows. Despite great advancements in technology, those two things haven't changed much in photography, and the physics of photography remains the same. Equipment does the same thing for a pro as it does for you. So what's the difference? The difference is who's a better captain of the ship. Hardware alone isn't enough to get you anywhere. Only mastery of light can take you boldly where no photographer has gone before. It's the pursuit of every photographer in every image. Composition, gestures and expressions are huge, but without quality light they fall short of greatness.

So, if photography seems difficult, that's because it is, or at least learning it is. Light is a mistress. It's mysterious, fascinating, complex and simple, and it's nuanced, powerful and secretive. It resists mastery. It continues to surprise. But once you learn it and understand that any gear has the ability to control it, it takes you on an amazing journey. Photography becomes easier and the hardest part becomes outdoing yourself and your business.

To become better, master light. Think about the Enterprise, its power and speed, its technology: The ship itself, though cool, is nothing without the adventure and responsibility that it brings, the possibilities that it creates -- with the right captain. The Enterprise crew does not sit around the warp core and worship how awesome it is. Nor do they sleep while the ship makes all the decisions. They'd never get anywhere if that's all they did. The real thrill is understanding what can be done with it and taking control of it to achieve something great. Drop your obsession with gear and obscure technical details and become a student of light.

Light is the secret. It's the instructor. You can learn about it in books, videos, classes, webinars, workshops and anywhere you practice the art of photography, but you can't find it in the camera menu or diffraction charts, or in the bank or inside a D4. If you never let go of the technical stuff, you'll never achieve art, but you may become a good critic or scientist. There are plenty of those lurking in the forums, waiting to spring scientific facts and figures about lenses, megapixels and bits upon unsuspecting beginners. The answers aren't in the technology, for them anymore than for you. Whatever camera kit you have is your Enterprise; your brain is the warp core. You have technology magnitudes greater than some of the greatest photographers had only a few decades ago. Now learn how to use it.

So how do you master light and photography? Everyone learns and experiences photography differently, so the only real secret is study and practice. That's the only way to master it. You have to understand metering, exposure, and all of the artistic aspects, like composition, shape, form, color, mood. You have to know the rules because if you don't, then you can break them only by accident, and that's not a professional method. You need to learn from noted professionals. Try a variety of sources, like classes, books, workshops and webinars. KelbyTraining and CreativeLive are two great resources. Take what works for you and apply it, and practice it. Learn from experience. Learn how software can enhance rather than fix what you take.

The difference between pros and amateurs, one of many, is that pros make it look easy, and the amateurs make it look hard because they don't understand it. If you watch an amateur flail or try to explain something, of course it looks hard. But when you watch someone who has it down, it looks easy. Nobody handed anyone a professional photography career. Most of us busted our butts to get them, and we work hard to create new images that compel sales. It's a great job -- the best -- but nobody said it would be easy, or cheap. You will eventually have to pay for knowledge, gear and experience, but that's because it's valuable. Think of how long it would take you to master everything if nobody helped you. If the information weren't valuable, you'd get it for free, and that's why pros charge for workshops. Time is money, and you earn things of value.

It comes down to study and practice, understanding light and how to control it. If you think you need better equipment to take better pictures, that's an excuse not to do the real work it takes to be a photographer. Anyone can get gear or software. You are the captain. Always focus on being a better captain, not getting a better ship.

Wedding Shoot at Camelot Golf Club

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 10 Jun 2013 15:22:49 GMT

I shot a beautiful wedding at Camelot Golf Club in Lomira on June 8, and we had perfect weather. This time I shot the whole day as a second shooter, except for the bride getting ready. And I have to say I rocked it.

The bride and groom were impressed with the photos, as was the photographer I worked for. We had a lot of fun shooting the guys getting ready and the couple had fun with some romantic posing after the wedding. They got to see some of the shots on a laptop and we shared a few throughout the day, and again they were impressed.

Seeing the clients' joy is one of the best parts of doing this. I don't go to a wedding to serve myself. If I do quality work, I will automatically take care of myself. I approach a wedding as me serving the client. Of course I'm there because people like my vision and the way I shoot, but my goal is to showcase the couple's wedding story.

The way I work is to get the best result in camera as efficiently as possible, and to do this I like to use a hand-held meter when possible, and I incorporate artificial light as often as I can. I know many would never use a hand-held meter, but it takes only about four seconds to take it out, get a reading, and put it back, and I can adjust dials while I'm getting into position or telling the b&g how to pose, and it takes the guessing out of exposure. Ambient light is awesome, but it's not always available or quality, so I bring in flash off-camera when necessary. Amateurs don't do this because they simply don't know how.

I like to get a little technical when talking about shooting because that's what I do. I tend to use TTL flash for all outdoor shots. This is because it's quick and enables me to shoot without having to worry about shutter speed. The automation of TTL is very useful for weddings and understanding how it works is key. The key is that fill flash is about filling in shadows, not blasting a subject with light.

For situations where I know where the subject will be and flash is the main light, such as during the grand march, I set to manual and test until I get the look I want. For couples walking down the aisle, I set up the flash opposite the sun on TTL set to minus compensation to fill in the shadows. In a church, I would go manual and shoot when the people walk within the range of the flash. The pictures were amazing, with rich skin tones throughout and soft shadows, super sharpness. With formals, using manual exposure, I achieved a dark bg and rich skin tones with the flash on TTL and minus compensation. Same with b&g alone; minus compensation for gentle fill for exquisite skin tones.

With the 24-85 mm lens still out of commission, I shot this entire wedding with just a D200, 50 mm, 70-200 and 12-24 (just for table shots). I also used only one Speedlight at any given time with a dome diffuser. I used an umbrella only for shots of the guys outside before the wedding. This proves that you don't need a lot of equipment to shoot a wedding. Beginners are borderline obsessed with gear, and it's amazing how many times on forums I see them post a list of gear followed by "Is this enough?" It's almost as if they use a template. And then I see a lot of posts from people who shot their first weddings and have a list of things they screwed up and want to know how to fix.

Good wedding photos come down to hiring a professional. There's just no other way. Uncle Bob doesn't cut it; he can get better than a bad photo in some instances, but he'll never get a professional photo. The difference between amateurs and professionals is simply too great for any amount of gear to make a difference. Professionals understand that it's not about gear but applying understanding of photography. Amateurs simply don't have it. There's no more powerful tool in photography than your brain. I understand light, I shoot weddings and I know how to pose and expose to make you look your best, efficiently.

So call me, 920-485-2152 or email me. Set up your free engagement session, no obligations, and see what I can do. You'll be blown away.

Saturday Wedding -- Helping

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 04 Jun 2013 00:00:00 GMT

On June 1 I went to work helping out a local photographer shoot one of her weddings in Mayville. My main job was to cover the guys getting ready.

I had no idea what I would encounter. Driving up to the small rural house with a barn in the back yard, I was excited to take on the challenge of turning the ordinary into the extraordinary. You see a lot of grand wedding photographs, but you have to realize most of the time photographers aren't just handed perfect light, perfect locations, perfect supermodels and perfect weather. We have to know how to turn whatever we get into something special. That's one thing that separates the pros from the amateurs. I knew the pressure was on me to get quality shots with whatever I encountered. And I did.

As soon as I got out of the car, I looked around the property for potential photo spots. I then met the groom and hauled in my gear. I was pleased to find a large living room window and some blank walls. I knew I could get some classic window light shots of the groom getting ready. Did I go full length? No. Closely cropped shots get the job done. I used a 50 mm 1.8 lens on a DX camera to crop tight and eliminate distractions, which were eminent -- couches, printers, tables, doorways. A great photo is as much in the decisions of composition as it is in the exposure. Anyone can go in with a 24 mm and blast away, even capture the light, but if you don't think about the finished image, you won't get it. The art is more about chiseling and brushing than blasting.

I also used a hand-held meter -- yes -- to meter the window light and shot on manual. Did it slow me down? No. Matrix, spot, hand-held -- each is valid. It's a matter of preference, and while you're posing the groom, how hard is it to take a quick hand-held reading and go? The fastest system for me is having the meter in a pouch on my belt instead of around my neck, where it gets tangled. On Nikon pro cameras, the switch from manual to aperture priority is the blink of an eye, so I can always adjust to a developing situation if I need to, but when I have a moment I like to use manual for perfect exposures.

Outside, I was able to use the east side of the barn as a natural backdrop for portraits of the groom alone, and the light happened to be good for it. I also shot mom and dad there. Full-length, tight, horizontal, vertical -- do them all one after the other. Quick clicks, done. I shot the groomsmen group under a tree, which in hindsight wasn't perfect but yielded usable shots. There were just enough clouds to prevent hard dappling. In the future, I would prefer to go out even in full sun and simply fill with flash than have to deal with even slightly dappled light unless I had no other choice. The other option is to overpower ambient with flash.

The main thing I learned was that the guys shots can be done in 30 minutes or less. Once the suits are on, it's snap time and if you know the system you can get it done, even the details and the window light shots. What you can't force are the moments the guys have together, so capturing some of that takes a little bit of time hanging out. But you could also fake many of those moments if you had to. You'd be surprised at how many of the top photographers' shots are staged -- most of them.

During the ceremony I was able to do what I wanted. I had one Speedlight on a stand set up next to the aisle for shots of couples walking down. I used the PocketWizard Mini/Flex system with the Gary Fong diffuser. The quality of light was plenty good and a soft box would've been too intrusive. I can tell you from experience that the diffusion dome has a tendency to fall out. To fix this, I simply put a Velcro strap on the diffuser and dome to keep it from falling off if it gets loose. The last thing you want is a dome rolling down the aisle in front of the bride. I picked out a spot and metered the light to match the ambient, and then I used ISO and shutter speed to lower the ambient to get some shadows. In this situation I make the ambient the fill light. I lowered the stand for the ceremony and raised it again for the conclusion. I turned off the flash using the AC3, but I never turned off the camera or PW system or changed lenses because I didn't want to risk any startup issues later. I just needed it to work, and it did.

Afterward, I helped shoot formals that were set up for me. The rig was an Alien Bee with a soft box and PW setup on a light stand. A half day's work, and it is work, hauling gear up and down stairs, setting up and tearing down, constantly moving and thinking, pleasing the client. Amateurs like the idea of doing weddings but many drop out after their first one because they realize they're in over their heads. I know the work it takes and my goal is to better with every wedding until I get to the top. I have learned from every wedding I've done, and if I ever stop learning, I might as well quit the business because I'll have nothing new to offer.

If you're getting married, I'd be happy to talk to you about photographing your wedding day. If you're a photographer who needs an additional shooter, I'm also available.

Why Professional Photographers Will Remain Relevant as Camera Technology Leaps Ahead

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 20 May 2013 13:30:00 GMT

Cameras are advancing so rapidly, you're now able to get clean images at ISOs that a couple of decades ago would've been considered impossible, and automatic modes are so smart indeed it's possible for more people to get decent shots without knowing anything about photography. So why do we still need professional photographers?

What's important is not what cameras can do but what within the next few foreseeable centuries they'll never be able to do:

Know why you're taking a shot or whether it should be taken
Know what composition is the best for the scene
Know the final image you see in your mind
Tell or show the subject how to pose
Create interesting light
Recognize the best expression of the subject
Understand what the most important element of the photograph is and how to expose creatively for it
Know whether the quality of light is good
Know the best location or angle for a shot
Impart your heart and soul into the image

These are just a few of the most important things about photography that equipment will probably never understand. A camera can decide what's the technically correct exposure for any scene, but it can't know what aperture to use to deliver the final image you see in your mind, nor can it know what creative exposure will deliver that image. A camera can't know where the best light is coming from or where to place the light, or even how important a particular light is. And it certainly won't understand how to set up or use multiple lights for you.

The best cameras, lenses, lights and computers are just tools that in the hands of a master can perform outstanding feats of creativity and in the hands of a novice create just snap shots.

I've seen what will probably become a new trend in photography -- using HD video to film a scene or subject and then extract the best stills from it. I cringe at it, and I know many photographers will hate it. But people will do it, and they'll get great images from it. Will it destroy still photography? No. Whether you extract an image from a video or a still frame, you end up with a still frame, and if you can make a better still frame than someone pulling it from video, you're still relevant. Video can't replace photography because video is video and photography is photography. You can't make a moving still image or vice versa. So the result comes down to how good you can make a still frame, and whether you're using video or still, the same rules of photography and lighting apply.

There may come a day when technology wipes out the art of photography and people no longer care about the art of great images. There may come a day when people prefer video over still images and video may replace still photography. But if those days happen, they're probably thousands of years away at least. The collective human spirit would have to decide that art is so unimportant that it would be let pass from our consciousness.

So take heart, photographers. If you're distinguishing yourself from the pack, you're still relevant and will be for a long time.

Get Better Close-Up Pictures of Birds

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 13 May 2013 13:30:00 GMT

This wasn't planned, but recently a female cardinal started building a nest on top of outdoor lights over our deck in the back yard. The cardinal's flight path was directly in front of my office window, so I took the opportunity to use the situation to get some great shots.

To make great shots, you can't just hope for the best. Professional images are the result of control, but how can you control a nesting cardinal? With biology, of course. First I thought about light and background. I used the Nikkor 70-200 mm f/2.8 VR lens on a DX camera, which gave me an effective focal length of 300 mm, so I could get close, isolate the subject and throw the background out of focus. There were few angles that afforded me a great background, but one was toward a tree in the neighbor's yard, which worked well.

Second, I needed a stage. I noticed the bird frequently landed on the back of a patio chair. I thought instead I could introduce to her a nice comfortable branch, something familiar to her, conveniently fixed to a light stand. I immediately went to the shed to look through the twigs I'd stored up for fire use and found a nice sturdy one and trimmed the smaller twigs off to create a better platform for the bird and picture. I placed the branch where I knew there'd be light and where I knew it would line up with my background. Stage set.

Cardinal Nest Building -0564

This is it -- a branch rigged to a light stand outside my office window. Anything you can do to make an animal's life easier makes it more likely to come close to you. Providing a nice comfortable branch, just right for the bird's feet, is one way to get a bird to pose where you want it to. But you should place it where you know the bird will likely use it, such as near a nest or feeder. Placing the branch gives you control over the background and setting.

Next I just had to wait for the bird to use the branch. Having it near the nest (off-camera to left) and in her flight path made it a very good prospect. After several flights to and from the nest, bringing material and constructing, the bird finally landed on the branch, possibly to see what was going on behind my window. Excitement! I clicked away in aperture priority, ISO 400 because of the lower light, and some minus exposure comp. I used single focus rather than continuous, which tends to search too much. I kept the aperture at f/4 to ensure I got as much of the bird in focus as I could and still blur the background.

Cardinal Nest Building -0555

Nice, but I wanted better. First, there are two different light sources. The subject is in the shade, but the background is in the sun. Exposing for the subject caused the background to go much brighter than I wanted. Second, I still had the screen on the window. My wife helped me pop out the screen so I could open the window and get a shot without glass.

So, the next day I was ready to get even better pictures when the cardinal returned. I waited for the same light to be on the subject and background so I could get a more balanced, rich exposure, and when the bird landed, I photographed away!

Female Cardinal 05072013-0022-Edit-2

Much better -- no glass or screen in the way, and better light! I lowered ISO to 200, still on aperture priority, getting about 1/1600 shutter speed. I could get about f/5.6 before the background started becoming a distraction. You don't always need 2.8; f/4 looks about the same when the subject is that close and the background is that far away. The camera is about 8 feet from the subject. This shows you that 300 mm is the minimum you need for good bird shots even at close range. For small birds 400 mm would be ideal at this range, but for anything else, 600 mm or more is required.

Thanks to Moose Peterson for his tips on using biology to get close to wildlife. I've long admired Moose's work and even attended one of his seminars a few years ago and got to ask him some questions and have him sign an "Outdoor Photographer" issue. I applied Moose's tips to my own situation to get these great cardinal shots and look forward to using them some more. It just goes to show you don't need to invest in gear to get better pictures. These images, and most of the images on my site, were taken with a Nikon D200. Can you tell the difference between them and images from a D3s or D4, D600 or D7100? Invest in learning and work, and better images will come.

The Amazing Notion of Photography

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 07 May 2013 13:30:00 GMT

This is for the point and shooters out there. Whether you're wondering why your pictures don't look like the pros', what big cameras are all about, or just have nothing to do but read a photographer's blog, you'll find something of interest here.

The dichotomy of P&S photographers and pros is kind of comical. On one hand you have people who are hungry for as much automation as they can get, with intelligent scene modes where the camera chooses the best settings for what it thinks the scene is about, eliminating all thinking from photography. On the other hand, you have pros who want nothing to do with automation. It's amazing, but yes, we actually do want to take full control over photography and not leave a single thing up to the camera. What a notion.

Control is what it's about. See, professionals are a different breed. We've been shooting for many years. We've seen the great shots. We've seen the bad ones. We've studied and practiced the fundamentals of photography. We understand the limitations of equipment and the importance of creativity. We know that better in equals better out. We use this to craft images, and that means telling the camera what to do, not the other way around.

So, while consumers are snapping up the easiest-to-use cameras with the most do-it-for-me features, pros cringe at the thought of a camera making creative and technical decisions. This is because the technical aspect of photography is generally not much of a mystery to pros. We encounter technical challenges, but it's not often that the technical aspect of recording an image is mysterious. We know how to get perfect creative exposure. We also want control over that exposure. I don't want the camera telling me what ISO is best. I tell the camera what ISO I want, and then I craft an image with aperture and shutter speed.

But it's about more than technicals. That only serves the vision in my head. I want to communicate not only what I see but what I feel, and that involves control over composition, color, exposure, contrast and post processing. I don't want the camera making those decisions. I want to capture the most faithful negative possible and then process it to produce a finished work.

Camera manufacturers make consumer P&S cameras for financial reasons. They appeal to a large number of people and the idea is to make photography more accessible. This isn't entirely new. There have been consumer and pro classes of cameras for decades. What pros want is a DSLR body because it puts control in the hands of the photographer -- lots of control.

So, perhaps this opens your eyes to why pros care about big gear and why they're not fascinated with the latest advancements in consumer cameras. It's neat stuff, and it does its job for the most part, but it's just not what we need to create great images. Interestingly, most of the time I fumble around if someone asks me to take a picture with a pocket cam. My life is spent using a camera layout and control system that hasn't changed much since the '80s. It's consistent, and it's an extension of my brain. So when someone hands me a different brand or a pocket camera that does all the thinking for me, it takes me a few more seconds to figure out how it works because it's nothing like a pro SLR system.

Just something to think about next time you wonder why pros have such big gear.

The Advantage of More Speedlights vs. One Big Light

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 06 May 2013 13:30:00 GMT

I've often thought about why photographers such as Dave Black choose to put four $500 Speedlights on one stick instead of just paying maybe $800 for one nice Elinchrom. Do they just like to show off?

Then I realized, the reason I would do it is because four Speedlights are more versatile than one big light. You don't always need four lights on one stick. You can take them off and use them in four different places at four different times, or use them as backup. You can use one as a rim light, one as a fill, one for a second shooter. With four lights, you have more combinations of possibilities.

There's another reason. Four Speedlights aren't necessarily more expensive than one big light. With one big light you have to get a battery pack that costs additional hundreds, plus you need a way to trigger that light and have remote power control, if you want to maintain the versatility of Speedlights. That costs more.

Four Speedlights also gives you TTL ability, which pack lights don't. TTL is quite amazing if you understand how it works, and that makes four Speedlights even more efficient than one big light.

Just thoughts that might help you in your lighting decisions.

Judging the Edgar G. Mueller Photo Contest

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 01 May 2013 18:01:15 GMT

I love photography and being involved in as much of it as I can, so judging the Edgar G. Mueller photo contest for the Limestone School Museum in Mayville this April was a good opportunity to keep my hands in the craft and potentially educate others about photography.

On April 23, 2013 judging of the Edgar Mueller photo contest took place at the Mayville Limestone School Museum. Shown, l to r, studying a photo as a possible winner are photographers Terrill Knaack of Sunny Point Studio, Beaver Dam; Patrick Flood, chief photographer at the Fond du Lac Reporter; and Joel Nisleit of Joel Nisleit Photography of Horicon. Photo courtesy of Don Bauer, president of the Mayville Limestone School Museum.

I can't share details about specific images, but I will share some general observations that might help you create better images and understand the judging process.

First, let's take a look at the process. Three photographers took part in the judging. We browsed the images quickly to get an overview and then took more time to rate each one from 1 to 10 on a sheet, sometimes using decimals. Color and black-and-white are done separately. The individual judges' sheets were anonymously put into a spreadsheet program, and the 10 photos with the highest scores were considered for final judging. The judges didn't know which images would be in the top 10. From the top 10 we then ranked the top five images in order.

The judging process is fun because each judge has a different background and despite us agreeing on most images, we differed in some areas when it came to which image should take which place and why we felt that way. Sometimes it was two against one and usually we found good reason to capitulate or simply let the majority rule. One judge may like an aspect of an image that doesn't impress another judge, and we talked through those points.

The process takes about 1.5 to two hours because choosing the top five in order is what takes the most time and what sparks the most discussion. Usually first place is easy, but then differentiating between second and third down through fifth can be challenging. Choosing best of show was relatively simple for us, but that doesn't mean it's simple in every contest. Several photos were close contenders, but we each found a lot of merits in the winning image.

That's the process, but there's more to learn about photography than just how images are chosen. Why are certain images chosen, and why do we look so quickly through most of the images?

From my perspective, the first images to be cut are the snap shots, the ones that show the least imagination with lighting, composition and the least technical perfection. These constitute about a third of the entries. In these images, use of flash is obvious, as are exposure problems and uninteresting composition and subject. These images show us nothing new. Realize that we've been photographing professionally for years and we're looking for something we haven't seen before. We've seen hundreds of sunset shots, hundreds of lighthouses, thousands of kids and puppies looking at the camera. Few images are new.

Most images fall in the average group, the scores of about 4 to 6. In these images, common ideas are reasonably well represented, such as an insect on a leaf, a close-up of a water drop, a sunset, a pattern or texture. They're often well exposed and composed to meet the minimum standards but they don't advance the idea or cliche or there are other images doing the basic stuff much better.

The highest rated images show some level of understanding and control of the essential elements of photography, including light, composition and exposure -- even if it's unintentional -- and they also offer mood, dimension, color, sharpness, even story. Tones are rich. Details are sharp. Composition is on target. There's impact and resonance. Some of these are simply common ideas taken to a higher level through technique or light, and some offer us something relatively new or force us to look twice.

What surprised me at the reception was how many photographers didn't seem to be very involved in the crafting of their winning images. They just saw something they liked and took it. It seemed like they didn't purposefully craft what impressed the judges, even if the photos suggested they did, but instead they captured a scene because something about it spoke to them. Of course, it was clear that also several photographers did understand and control what they were doing.

What I want you to realize is photography can be much better if you do it on purpose, if you understand and control it. I realize of course that this is a contest for amateurs. We don't expect every image to completely demonstrate all of the merits we would look for in professional work. I don't know if any images received a perfect 10 but I didn't rate any that highly. For me the rating became somewhat of a relative system, where I got an idea of what was average and what was above average, and I rated certain images higher or lower depending on how many merits they demonstrated and how well they demonstrated them. But you can learn to do on purpose what will make your images better.

To help you get your images in the winning group next time, I can't tell you what a winning photograph will be or what elements it will contain because a winning photograph shouldn't be predictable. I shouldn't be able to describe it to you. Ansel Adams said something like there are no rules for good photos; there are only good photos. It should communicate the reason for itself.

The strongest piece of advice I can give you is think of a photograph as a story told by light. Look for light. Study light. Understand light. Capture light. Light is mystery. It illuminates, but shadows define. Sometimes a shadow says as much as light. Light is a big subject and it's the pursuit of every professional.

Understand and learn to control fundamentals like exposure, subject, composition, form, mood, color and tone psychology, story, creativity, impact. Yes, the fundamentals and "rules" actually matter and they matter to pros every day. Perfect exposure isn't a mystery to pros, so for us that's not enough. We look for elements in a scene and figure out how to craft them, using fundamentals, into something that resonates as an image. One theme that kept coming up is if something doesn't add to the value of a photograph, it will detract. Images are crafted, usually pre-visualized, and chiseled away at like sculptures. Technique and tools serve vision.

No single concept is a guaranteed win: a sunset, a silhouette, a pattern, a portrait. What we look for is control and something new or different -- a powerful element of light, a mood expressed through color and composition or texture, a story told by the play of light and shadows. It could be a different way of looking at something. The best images have multiple photographic elements captured well and working well together. We want images that show us you understand technique and have used it to craft something memorable.

Better photography comes through learning, practicing and experience. It comes from exploring and understanding, from sharpening your vision and crafting vs. guessing. Images that don't show mastery of fundamentals on some level don't advance to the winning group. Even if you didn't make it good on purpose, recognize what is good and choose those images for entry. If you want to take a good portrait, learn about classical portrait techniques. Study the contemporary masters. If you want to enter a landscape, understand what makes a good landscape. Use fundamentals and put your own take on them. To help place photos, judges pick them apart on their merits. If there are five decent portraits in a contest, we will pick them apart against the standards of classical portraiture and where the photo takes those standards.

A perfect profile? Close. This is what I mean when I talk about quality of light. The light illuminates, but the shadows sculpt. Look at the roundness of the pearls, the chiseled ear, the form and dimension. We see one eye, but no part of the other eye -- classical technique. So what in this profile is not perfect? The eye itself is looking straight ahead, revealing too much of the white. It should be turned 30 degrees toward camera, filling the socket -- classical technique. This was taken of a real bride using only window light.

You can be at the greatest location with the greatest light, but if you don't know how to capture it, you'll end up with a snap shot or worse. I see this at every tourist hot spot (see Haleakala sunrise caption). Photography is not about the best gear. If you have a camera and lens, you have the equipment necessary to take the best images in the world. But the camera and lens by themselves can't make a great image any more than a brush and canvas can paint themselves a masterpiece. It's about who's using the tools.

Feel free to ask me anything about photography or sign up for some mentoring or a workshop. Learning is ongoing. I can teach you what I know, but I can't teach you what I'll know tomorrow. I can help you get past equipment and start realizing your vision or just have more fun with photography.

Winter's Glow Beneath Wooden Fence

Strong top and bottom third, and strong lower right third; that's good composition. The eye studies the detail of the icicles, which pop because they're composed against a dark background, and moves around the frame to study the textures of the snow, and the viewer is always drawn to the red; that's called color contrast, in this case the contrast between the blues, whites and red. There's no strong exit point, which is good. Without proper exposure, the subtlety of the light glowing through the snow would be lost and the highlights would easily be blown out.

Photographing Colorful Hawaii

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 25 Apr 2013 14:00:00 GMT

Haleakala Cloud Cover

What an amazing journey. I've seen fantastic places, but none like Hawaii. The combination of tropical beauty and soaring green cliffs is astounding. And colors are everywhere, every day, so inspiring that I want to share them and how I photographed them. This first post will cover the basic technical approach.

The way I approached photographing Hawaii was to look for simple images of color that felt like Hawaii, avoid tackling or planning too much, and avoid expecting every shot to be on National Geographic. This was a family trip, not a photo shoot. This meant traveling with less but serious photo gear. I stuffed everything except my tripod into a Tenba Discovery mini pack, which stretched at the seams trying to contain my DSLR with battery grip, three lenses and a flash plus more accessories. I chose the pack so I could be more agile yet still keep my most essential gear with me. It took this experience to realize the value of an 18-200 mm lens, which I do not have but would've greatly preferred to the monster 70-200 2.8, ultrawide 12-24 and standard 24-85. I did get great images, but I'm confident I would've gotten mostly the same images with a single 18-200.

So, my first piece of advice is take one lens if possible. Don't worry about an 18-200 not being as tack sharp or as fast as a single great lens for each length. Unless National Geographic is paying you for a minor technical advantage, one lens will do you wonders. For family trips, I try to travel lighter. Since I didn't have one lens that covered every range, and I couldn't decide on just one lens, I took my favorite three. If this had been an assignment, I'd have brought even more gear.

I found myself using the polarizers frequently. For travel photography, I hate filters because they add hassle, but in a place like Hawaii, you can't leave home without it. Hawaii is about color -- deep blues and greens, lots of water, and lots of bright light everywhere. Even in overcast conditions, a CPL can save you work in post and make the difference between an OK shot and a standout. The CPL was the only filter I used. When it didn't work or wasn't necessary, I took it off and used no filters.

I took my Sekonic L-358 but used it infrequently. Often there simply wasn't time or it wasn't practical to stop and take a reading, and I'm good enough with matrix metering to get the shot. To be sure, I often bracket, and at the end of the day I delete the dark or bright images in camera to recover card space, as I don't travel with a laptop.

The ColorChecker is great for WB when you use it, but I used it rarely just for practicality reasons. Much of the time I was shooting with the 70-300, which is too long to shoot the ColorChecker in my own hand, so I have to give it to someone or set it somewhere, so many of those times I didn't use it. Sometimes I just didn't feel like having it in my pocket. Also, I wasn't on a critical shoot, and in-camera settings got me very close 100 percent of the time. In Hawaii, simply using the daylight setting gives a pleasing look in most circumstances, and it's unlikely to be off by more than a few hundred Kelvins. In fact the only times I moved off it were to shoot in overcast conditions and when I used WB tricks. I did use the CC for light profiles, which is essential, and occasional WB reference in tricky conditions and when I used custom WB and wanted a reference to fall back on in LR.

I used the tripod twice: once at Haleakala for sunrise and once for a family portrait. Had I been getting paid for images, I might have set up a few more times but I wouldn't have lugged it everywhere.

The D200 took some damage this trip. Being near and splashed with salt water didn't help. Some of the metal parts started corroding, including the hot shoe, and the SB-800 fritzes out and starts flashing rapidly or the TTL mode stops working. Somehow the D200 battery door lever got tight and the pop-up flash doesn't spring up as nicely. And sometimes the vertical trigger doesn't work; these are new problems and I'm not sure if they're simply a result of age or entirely a result of a little salt water splash and sand. At one point I thought the whole camera was shot until I realized I had accidentally switched it to manual focus drive. It's time for a new camera anyway.

Kaanapali Sunset

No, these ain't your grandma's vacation photos. See the difference? If you want yours to look more like mine, I happily provide mentoring, speaking and workshops because the answer to better photography is education, not equipment. I have tips and techniques you can take on any vacation with one camera and one lens.

Doing Visual Push-Ups on a Photo Walk Around Horicon

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 15 Apr 2013 13:30:00 GMT

Taking great images, being a photographer, becomes easier with practice in the sense that the more practiced you are, the more equipped you are to take great images. Practicing keeps your vision and skill sharp. Doing this is easy; you just need to commit some time to it.

Recently I went on a walk with my wife and took my camera with me. I followed some of Jay Maisel's advice: If you have a camera with you, you don't have to worry about not shooting. Not only did I need the physical exercise, I needed the visual push-ups.

One camera, one lens is what I took with me, just the D200 and my 70-200 f/2.8 VR. Taking Maisel's advice, I left the hood at home and the lens cap in my pocket, and I left the camera on. My ISO was 400 and I was in aperture priority, f/4, matrix metering, cloudy white balance (which I later changed in post from a ColorChecker target). I could have used a light meter, but I wanted to get reacquainted with matrix because it's important to know how to use it when there isn't time to take out a hand-held. I still had the Sekonic with me in a belt pouch. When I have time, I still prefer the hand-held.

At a park just down the block, this orange basketball hoop rim and white net caught my eye in a way I'd never seen before, layered on top of a darker green background. I went for the color and graphic elements and got a series of shots. The rim and net have some nice dimension to them, helped by the angle of the backboard. I like this image for its simple graphic elements and saturation under the overcast light. It's a spot I can see returning to again for different light and framing.

Horicon 04062013-0023

70-200 @ 300 mm, ISO 400, aperture priority f/4, matrix metering, -2EV exposure bias (-1 from -1 compensation)

Is it spectacular award-winning photojournalism? Probably not. But it's a good visual push-up. I was thinking about color and layers and design, not shutter speeds, f-stops or ISOs. Could I have gone to 2.8 to try to separate the background more? Sure. Could I have gone to f/8 and tried to sharpen it more? Sure. Could I have gone to ISO 100 or brought the exposure up? Sure. As I said, I did bracket so I had those images to choose from. But this is the shot I like, a bit more saturated, and I like the way the orange and white stand out against the dark green.

This shoot wasn't about technical details. It was about me feeling out images with no pre-planning, relying on my instincts and innate technique. And it was fun. I didn't shoot anything that I didn't think would be fun or worth shooting. Just because you have a camera with you doesn't mean you have to use it.

When I uploaded my images, the first thing I did was cull the rejects and apply my overcast color profile, which arranges colors into their proper places under the given spectrum of light. Lens corrections are done automatically on import. I did quick blackpoint and whitepoint settings in Lightroom, plus sharpening, white balance and a touch of clarity and vibrance. No other edits were done. I bracketed three exposures so I could see later what one I liked best. This is how Maisel shoots, and for photo-walking it's a good strategy because with digital it's inexpensive, quick and easy to hone in on the images you like in post and reject the ones you don't, so it's not like I spent hours culling or wasted film. I took about 30 to 40 frames for the entire walk and I culled it down to 18 and had my favorites edited in about 20 minutes.

Doing these visual push-ups is a good idea and it's one I plan to follow through on. When you keep photography fun and do it because you love it, you get better images. This is because technical details and equipment aren't getting in the way. Doing these exercises is also a good way to train yourself so that technique becomes second nature. The goal is to make the transition from seeing to capturing as effortless as possible. Then you can take your photography to another level. I enjoy taking my craft on the go and being free to shoot what I want when I want. Try your own visual push-ups, and I think you'll enjoy them.

What White Balance to Use

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 01 Apr 2013 13:00:00 GMT

Snowy Woods Horicon-78-Edit

Every camera setting is subjective, including white balance. Some of the top wedding photographers use auto white balance. Some do custom white balance for every shoot. I used to believe in auto white balance for everything. For the most part, situations are always changing and therefore white balance is always different, so auto helps.

But since color temperatures change, so does auto white balance, meaning every image you take could have a slightly different white balance because of what the camera sees, even if the real white balance is fairly consistent. For example, under the sun, the white balance is the same no matter where you go, but the camera could see it differently and make slight adjustments. So you could needlessly be correcting white balance all over the place when a single setting -- Daylight, for example -- would have been much better.

Remember, when shooting RAW you have unlimited flexibility for adjusting WB in post. So if you pick a consistent setting, like Daylight or Shade, you'll at least have a more consistent starting point in post. If you do a custom WB for every lighting condition, you'll be in an even better starting place, but it's more work. If you take a shot of a known white target -- I recommend the ColorChecker Passport -- for every scene, you can get perfect WB in post with just a click. It depends on how particular you want to be and what workflow you like.

One thing about getting WB correct in camera -- it doesn't matter in post if you're shooting RAW, but it means you'll get a better image when reviewing the LCD, since the LCD image is a JPEG created from the RAW settings in the camera. RAW files themselves have no white balance or color space.

The ColorChecker eliminates guessing and inaccuracies by providing a known white point for the scene that you can quickly select on the spot or in Lightroom. I can use the white card to create a custom white balance in the camera before I shoot, ensuring consistent results that are easy to correct if necessary, and an accurate review on the LCD.

The ColorChecker also enables you to create custom color profiles for different lighting conditions. This is different from white balance in that it corrects color for the spectrum of light, not the temperature of the light. The color profile returns colors to their truest hues, and this is something not possible without a system like the ColorChecker. Without it, you're using generic profiles to tell the software where to place color, which doesn't provide rich or accurate color, even if it looks like it does. Until you see a comparison of generic profiles to ColorChecker profiles, you really have no idea what you're missing, and it's a lot.

So for me it will be no more auto white balance for everything. In some instances it will be necessary, such as weddings, when things are moving too quickly to think about WB, but when possible I always like to have a consistent WB setting.

If you're shooting JPEG, you have almost no flexibility to adjust WB after the fact, so you must be as accurate with WB as possible in the camera if you want any hope of getting accurate color. In this case, matching the camera's WB setting to the temperature of the light you're in, or doing a custom WB with a white card, yields more consistent results than auto WB.

How to Buy Adobe Software (Photoshop) Used

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 18 Mar 2013 14:00:00 GMT

The Internet offers a lot of misinformation when it comes to buying and selling Adobe software used. Articles tell you it's neither legal nor effective, that you're wasting your money. That can be true if you buy pirated software, but the story is quite different if you go through Adobe's Transfer of License process. In fact, you can legally buy and sell Adobe software used, and if you're the recipient of used software, you can get Adobe support.

The safe sale or purchase of used Adobe software begins with the license transfer process. If you're the original owner of an Adobe product license, you can sell the software or give it away by transferring the license.

Adobe requires a few things for you to transfer a license. The current owner of the product license must initiate the product transfer, not the receiver or transferee. The current owner must give Adobe a copy of his photo ID containing his signature. Thirdly, Adobe requires proof of original purchase (if you didn't purchase directly from Adobe) and the order number. The product serial number must be registered in your Adobe profile to transfer the license.

If you have met the requirements, you can then go through the license transfer process. This involves getting a case number from Adobe support and then the seller and buyer completing the transfer of license form. You then sign into Adobe support and upload your scanned form, photo ID and proof of purchase. After about four weeks, Adobe will approve or disapprove the transfer. If approved, Adobe registers the software to the new owner. This registration ensures the new owner can receive support from Adobe.

If you're simply buying an Adobe product used, just make sure the seller has gone through the license transfer process and get confirmation. Both the seller and buyer must sign the transfer form.

You don't need to buy used software from an "authorized" seller or fear that your product won't work or be supported, and you don't have to be an "authorized" seller to legally sell used Adobe software, as long as you go through the license transfer process.

If you're buying full new Adobe software at a price that doesn't make sense, you're wasting your money and could be potentially buying illegal software. Adobe is tight about this stuff. You can't simply buy someone else's download link or activation code and register it in your name. Also, Adobe doesn't enable the transfer of OEM or educational software licenses, so any of those you buy used will be illegal junk.

Be honest and follow your instincts. Nobody's putting a genuine product up for sale for half retail price if he knows it will sell for full retail value, unless he knows it's stolen or not the genuine product. It's easy to think that since there are so many Adobe products on eBay, they must be legit, or else eBay would shut them down. Don't give the big corporation too much credit. People break the rules every day on eBay and rarely does eBay do anything about it. Nobody can look out for you like you can. Anyone generous enough to even consider selling a $600 program for $150 is much more likely to find other ways to be generous, like making a donation to church or giving the software to a friend, than sell it online for half of what he knows it's worth. Price is the most easily recognized indicator of a scam. If it's too low, leave it go.

The safest way to purchase Adobe products is through Adobe itself or from a seller you know is authorized (see the Adobe seller lookup page). Some new software may be legitimate, but unless it's from an Adobe-authorized seller, Adobe may not recognize it as genuine and therefore it may not be eligible for support, updates or upgrades. Pirated software is not only illegal but it may contain viruses or otherwise be unsafe or unstable.

Above is legitimate Adobe software. The serial number is blocked in this image but appears where the red lines are.

Counterfeit Software

If you're tempted to buy Adobe software for cheap, first look for these signs that the software is counterfeit (quoted from Adobe):

The software lacks proper documentation.
The manual is photocopied or missing.
The software does not look authentic. For example, the software, product packaging, or accompanying materials are of inferior quality or include handwritten labels.
The serial number is printed on the CD/DVD, sleeve, or jewel case.
One CD/DVD contains multiple applications (especially if they are from different companies).
The price of the software is far below retail price. [End quote]
To see a comparison of legit software vs. counterfeit, visit the Adobe Identify and Avoid Piracy Page (Adobe: Identify and Avoid Piracy).

References/Resources:

Adobe: Transfer an Adobe Product License

Adobe: Adobe Anti-Piracy FAQ

Adobe: Identify and Avoid Piracy

Photoshop.com Blog: Protect Yourself From Pirated and Counterfeit Software

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Horicon Stock Photography Available Including Street Scenes, Textures and Backgrounds

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 15 Mar 2013 00:00:00 GMT

Recently I went out and finally got some local textures I wanted for use as possible digital backgrounds. I live in Horicon and there are scenes most people would never think twice about but are a photographer's dream. Some of the streets downtown are those places.

Street Textures-6

This is one of the images I took (if you can't see it, your browser may not support TIFF images). Not particularly exciting on its own, but if you can envision the possibilities when applied as a dramatic background to a portrait, with different lighting effects, it becomes exciting. You could also use it as a texture. I have several images from this shoot available for download as digital backgrounds and textures for commercial use.

To get the exposure and color perfect, I used two of my favorite tools: a Sekonic L-358 light meter and the ColorChecker Passport. For more information on how I use these products, please contact me for a one-on-one instruction, speaking engagement or workshop.

I'll continue to add to my stock textures and backgrounds and you're welcome to purchase them for royalty-free commercial use.

Why Hire a Professional Wedding Photographer?

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 07 Mar 2013 15:00:00 GMT

Thinking of saving money by not hiring a professional wedding photographer? Let me show you why that doesn't work.

It starts with the latest trend, to leave the most important photographs of your life in the hands of people who ultimately have no idea what they're doing just to save a buck or show you don't care. No matter how much time you spent designing your wedding, you and your parents will just be glad to waste it all on cheap photos and get it over with rather than pay for someone who can tell a quality visual story about the most important day of your life. That's what your friends did, so now it's your turn. You'll have an extra grand for that cool new thing you've always wanted, so that's a big win right off the bat. You're a millennial. You know better. Amateur photography is the one trend that will last. It has that blurry, unrefined phone-camera feel that looks like anyone could have taken it.

To give you these pictures that anyone could take, you've asked your friend/cousin/uncle who has that big camera. The best thing about digital photography is you don't have to know anything about it to get good images. Back in the day, artists like DaVinci and Michaelangelo actually had to understand lighting, posing, dimension, mood, expression, color, shape and form to create meaningful images with paint and stone. Can you imagine having to know stuff and actually do work to create good images? We're not exactly sure how or why, but somehow with a digital camera the principles that guided artists for centuries magically cease to exist, so it makes it so much easier for anyone to become a photographer. If you can press a button, you can be Michaelangelo! Truth be told, I think the masters simply got lucky with accidental "masterpieces" that took no real skill; either that or the tools simply picked themselves up and created their own masterpieces without input from the artist's hand. Digital photography is no different; it's only the equipment itself that matters, not who's using it. In fact, if you really want to save, give the camera to a fifth-grader because they don't charge as much and it's the equipment that matters, not the photographer. Besides, they make software to fix everything so you don't have to know anything. Maybe some professionals know how to get good exposure and lighting consistently, but it's certainly not worth the price. Going with someone who relies entirely on cursory knowledge of equipment rather than an understanding of wedding photography, and who has minimal gear, will give you much more bang for the buck.

On your wedding day, your buddy will have no idea what to do; he's never shot a wedding. But that's OK because he's your buddy. He's only there to nail the big moments, like walking down the aisle, because those are the shots everyone will want on the wall and no other relatives will be leaning into the aisle taking them. None of the little moments will matter or be worth remembering, so it's a good thing you didn't pay for someone who looks out for that stuff. Who wants to look back 20 years later and see a story of what her fresh bouquet looked like, or the details of her hair or dress? Boring. And art? What a crock. You'll be looking your best, but he'll have no idea how to capture that. Just smile and look at the camera! Good thing nobody cares, especially you or mom, about how you look. Chances are you put almost no time or money into your gown or decorations, so your wedding day is the perfect opportunity to skimp on image quality. Any other day would be worth spending more on pictures. If your buddy accidentally knocks over a $1,000 vase, the venue won't care that he doesn't have insurance because he's your buddy.

If he can fit it into his busy life, your buddy will process the images, if you use "process" loosely enough. Professional software is way too expensive, so that's out. The software that came with his camera does a decent auto-fix, and it just has to be good enough, not great, because he's your buddy. Good thing you don't care about RAW or color management, whatever that is, because he doesn't know anything about it either. Color management doesn't enter his workflow. In fact, he doesn't really have a workflow. He just picks out the best images to spend a little time playing with in software and try to rush through the rest. If he doesn't, it could take months before he gets back to you because there will be so many images to repair, and you have to respect that image repair takes time. He blew most of the flash and ceremony shots, so be patient. It's not like it's possible to do much better, let alone make sure the dress and flower color scheme you worked so hard to create is represented accurately. It's not like you'll ever want a large canvas, and why would you because then those image deficiencies will be really visible? Just save the money and let grandma get her prints at Walmart.

Then, you'll finally get that fantastic plain disc you've always wanted. You can label it yourself. Don't forget your buddy has to delete the images when he's done burning the DVD so he can reclaim space on his hard drive to install that new game. Good thing he made two copies of the disc, on which the entire visual record of your wedding day resides. If you lose them, too bad. The images probably won't have color profiles, but again that's something only professionals waste time on. You can just hope the people at Walgreen's know what they're doing. If not, maybe you can take a little time to play with the images or even take the money you saved to pay someone to fix them. It's the record of events that's important, not whether or not the images look good.

You're in for a real treat if you're getting a cheap album or, better yet, you get to do the album yourself. You know places like Shutterfly are great. How could they sell products for so cheap if they weren't good? You can spend hours in front of the computer designing your own album until your eyes hurt and your wrist is numb, and you can get all sorts of stuff for cheap, even books. Just throw it together. Who cares? Sure the pages are flimsy and start falling out right away or the color is off, but that's life. You're getting married to save money, and the wedding day isn't something you want to waste time relishing later in prints or wall art. As long as the food and decorations are right, everyone will remember every detail of the wedding and reception, even decades from now, album or no album. Besides, nobody will care 30 years from now that you even got married, let alone that the pictures look the same as everyone's family reunion. It's just not a vital part of your family story. This isn't something you'll ever want to take out and show the family. Digital is the way to go anyway. Thirty years from now the grand kids can just find the files scattered across three or four decades of devices and go make their own album. It's just a wedding.

Congratulations, you've just learned how to easily save $1,500 or more by not hiring a professional. And think of all the neat stuff you can get for that -- a new TV, a new laptop, some bling or maybe a video game system or some kitchen equipment, maybe even two mortgage payments -- you know, stuff that you'll hold dear to your heart when you're 75. The experience won't be what you really wanted -- let's face it, it'll be a disappointment -- but that's a small price to pay so your special friend/relative could shoot your wedding, saving you money that you could never earn again. You'll be grateful just to have some foggy record of the day and, more importantly, a fond memory of the money you saved.

I'm being somewhat facetious on purpose of course, but very sentence I've written so far illustrates a real problem you will face if you choose to save money on wedding photography by not hiring a professional. Amateurs do not know the secrets of posing, lighting or storytelling that make wedding photography magic happen. All they know is hold the bride like a log and say "Cheese." I'm sure your buddy is a nice guy, but here's my real advice: If you're honestly in a situation where you can't afford good images, then you're better off not getting or expecting any images. Just focus on the day and remember it. But if you care at all about getting good wedding images, it's time to talk. I'm flexible, but even if you don't think you can afford it, maybe mom and dad and grandma and grandpa can. You can afford not to hire a professional, but can you afford to live with it?

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Changing Layer Thumbnail Size in Photoshop CS6

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 04 Mar 2013 14:00:00 GMT

Joel Nisleit Photography demonstrates changing the default layer thumbnail size in CS6.

How to change layer thumbnail sizes in Adobe Photoshop CS6. I provide Photoshop and Lightroom demonstrations for photographers and students interested in learning the software. I will take you through the importing, organizing and editing of images. Please contact me through the Contact page if you're interested. You can get an idea of my rates from the Freelance/Workshops page.

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Horicon Marsh Forest in Snow Storm With Bent Trees

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 25 Feb 2013 14:00:00 GMT

Snowy Woods Horicon A nice example of how color and texture can be found in a fairly monochromatic scene. This is a snow-covered forest during a snow storm in Horicon. A few layer adjustments in CS6 plus a structure trick helped bring out the wood texture and little pops of color from the white scene. The image is now available in my Scenics gallery.

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What Lens Should You Buy?

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 18 Feb 2013 14:00:00 GMT

Gear questions are the same whether they're about cameras, lenses or lighting. Beginners do research, spin their heads over dizzying options, and then ask people on forums which is best for them. My advice: take marketing out of the equation and be honest about what you can achieve with a piece of gear and why you need it. The same rules apply to cameras and lenses.

Vision

The most important criteria in lens selection is the story you want to tell. A lens determines how you see through the camera, and it gives each image character, such as perspective, angle of view, and bokeh, or out-of-focus elements in the background. You can use a lens skillfully to serve certain looks, or you can waste its potential on generic shots or purposes that don't make use of its full potential.

Secondly, you should have the skill to get out of the lens everything it's capable of providing. If you buy a lens for sharpness or clarity and then frame up poor light, poor exposure and don't know good focusing technique or composition, you've just wasted your money on a piece of gear you can't control.

Basic Lens Storytelling Characteristics

Telephotos, usually 100 mm and longer, compress scenes, enable you to magnify subjects more, and help isolate subjects from backgrounds by both throwing the background out of focus and using perspective to stack the subject on top of it. Fast telephotos feature wide apertures of 2.8 and sometimes f/2. Long lenses enable you to crop scenes and control backgrounds.
Wide lenses, about 35 mm or less, exaggerate space around the subject and tend to distort features. Their wide perspective creates the illusion of greater depth of field, or distance between the nearest and farthest subjects in good focus. They pack a lot of information into the frame, but if not used carefully it can be too much. Wide lenses are often used to feature environments and emphasize space, but not necessarily dimension.
Medium zooms cover the average range of zoom, about 35 mm to 100 mm, and give different looks depending on how far you zoom. Their flexibility enables you to shoot different situations from environments to closeups without constantly changing lenses, but they often lack the wider apertures of dedicated telephotos or primes, and the maximum aperture usually varies throughout the zoom range, making any manual exposure a bit of a trick.
Prime lenses have no zoom and give you a consistent look and feel, often used for portraits or environmental shots. They often have wide maximum apertures, from 2.8 down to 1.2, helping you defocus backgrounds for separation even when the subject is fairly close to them. Primes vary in focal lengths from wide to telephoto and are often prized for their fast apertures, consistent looks and clarity.
Specialty lenses include perspective control lenses and fisheyes, which correct perspective distortion and exaggerate distortion, respectively. Macros are also in this category, and they're kind of like microscopes, enabling you to fill the frame with tiny subjects.

So, the first consideration is which lens you need to tell your story. It could be the cheapest kit lens available, or your skill might demand better optics or different focal lengths. If you're honest about your needs and separate them from wants, you can be very selective in what lenses you shop for. This enables you to develop a budget, which is the next criteria.

Budget

Since I don't know your vision or your budget, I can't tell you what lens to buy. But I can give you buying techniques that can help reduce your costs.

Be patient. Rushing to buy a piece of equipment never improved anyone's photography. Wait until you can afford the lens you want without going into significant debt. If you can get store credit and can pay off a lens quickly or on the spot, go for it. If you have to take out a second mortgage, don't bother. Debt won't improve your photography. Focus on your vision and master what you have before straining for what you want. A new lens won't improve your photography or vision. Only you can do that.

Avoid equipment addiction and separate needs from marketing. Every photographer wants the big glass, the $10,000 lens that will help us nail those beautiful close-ups of animals, or the fancy $1,500 2.8 zoom that's known for its clarity and sharpness, but equipment doesn't equate to better photography. A pro can take a great image with an old slide camera. If you buy an expensive lens for its supposed technical greatness, you better make sure you're making use out of every ounce of quality that glass has to offer. Otherwise you're just donating to the Nikon CEO yacht fund. There are few markets where marginal differences in lens quality are actually both tangible in photos and affect client demand for images. I don't think there's a person alive who can tell just by looking at images exactly what lens was used to take them.

Wait for sales or rebates, and don't be afraid to buy used. Brand name lenses are like cars. There's a certain novelty and convenience to buying them new, but your photography doesn't gain any more from that than a new car helps you drive better. It's the same tool, just with a little mileage. Nikon and Canon lenses in particular are designed to absorb somewhat of a beating since pros use them every day. They may not be in perfect condition, but what's important is the glass is scratch free. If that criteria is met, you can be reasonably confident the lens will work for a long time, at least long enough for you to improve your photography and save up for another lens, even when not handled with perfect care.

Even if you have to send a used lens in for repairs say once in two years, you're still likely to come out ahead compared to paying full price for it new. You can easily save $200 or more on many used lenses, and most repairs are under $100, so you would have to repair a lens more than twice in five years, which is the warranty period on most new lenses, before a new one becomes a better investment. EBay has a good used market and protects buyers from bad purchases, and Adorama offers occasional open box and refurbished deals.

Buy a lens that you know is a USA model, so if something does need repair, the manufacturer will repair it for a fee. If you buy gray market equipment, the manufacturer will not repair it even for a fee. Authorized dealers sell USA models. To find an authorized dealer, search the manufacturer's website. Or, find the serial number of the lens and contact the manufacturer to check whether it's USA or gray market.

You can pick from third-party lenses, like Tamron and Sigma, but you make some sacrifices. While there may not be noticeable differences in image quality for every lens, there will likely be noticeable differences in features. For example, some third-party lenses don't have as solid a build quality, which you can feel when you handle them. They may not focus as well or as fast as more expensive lenses or have other compatibility issues with the camera. Sometimes a lens has a different filter size than the equivalent Nikon or Canon lens, throwing off your filter collection and compelling you to buy new filters. For demanding clients who want perfection, or if you sell large prints, cheaper lenses might show more flaws because they lack engineering features like specialized coatings or the higher quality elements of more expensive lenses.

The Ideal Lens Kit

Every pro has numerous lenses because no lens can serve every vision. A standard lens set generally includes three lenses: a telephoto, medium zoom and wide angle. This is because photographers usually want to cover the entire range of focal lengths, giving them flexibility in storytelling. The lenses I carry with me almost all the time are my 70-200 mm f/2.8, 24-85 f/3.5-5.6, and 12-24 f/4. In addition to the core bag, pros often have specialty lenses that serve specific purposes. They might have a macro for close-ups, a tilt/shift lens, or various telephotos or primes that are pulled out for occasional use. I have a 50 mm 1.8 lens for portraits and general use.

For a beginner, I would recommend a medium zoom that enables you to experiment with wide to medium-telephoto angles and doesn't fix you into a certain perspective. See what you can do with it and improve your photography, and then figure out what the next level of your vision is. Go to a camera store and ask to try lenses out on your own camera. Get an idea of the look the lens provides and whether or not the features and price fit your needs. Take a few test shots and analyze them. A good lens can last your career. When you feel confident in your lens decision, and if you would buy the same lens again, you'll know you made the right one.

The Thrill Factor

I'm not trying to tell you that spending more on expensive lenses is absolutely useless. If you're in a budget situation, like most beginners are, you can definitely save by going used or buying glass that maybe isn't as good as what the top pros are using but is more than capable of handling your work. But if you're not on a budget, owning expensive glass is just plain fun. It gives you bragging rights, peace of mind, but that doesn't make you a better photographer.

I know what it's like to want the best just to make sure that you have it and so that you can push the potential of it. And if you do have professional skill or at least advanced skills, then certainly better glass can make an improvement in images that are captured well in camera. Again this is where being honest with your needs leads you to a better decision, expensive or inexpensive. Just having a piece of equipment does not improve or degrade your photography. No matter how expensive it is, it's just a tool and to get the most out of it you still need appropriate skills.

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Advanced Non-Destructive Erasing in Photoshop CS6

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 13 Feb 2013 01:00:00 GMT

Discover how to more effectively and flexibly erase in Adobe Photoshop CS6. This technique applies to any version of Photoshop supporting layer masks. I provide Photoshop and Lightroom demonstrations for photographers and students interested in learning the software. I will take you through the importing, organizing and editing of images. Please contact me through the Contact page to have me speak to your group. You can get an idea of my rates from the Freelance/Workshops page.

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How to Create a Sun Star With a Small Aperture

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 08 Feb 2013 01:00:00 GMT

Snowy Woods Horicon-78-Edit One of the elements of interest here is the sun star created by shooting at a narrow aperture, f/22, on a wide angle lens. Lenses of about 24 mm or shorter are best for this. The aperture should be fully closed, and the sun should not be fully visible. In this case, the sun actually poked through a tiny hole formed between a branch and ice buildup. To help previsualize the star effect, hold the aperture preview button on your camera to stop down the lens, and position the sun where the star effect appears to be greatest. Then shoot. There are different ways to meter every image. Here I used an incident meter, but you could also spot meter a highlight and open up 2.5 stops.

This image is currently my desktop background. Make it yours. In fact, you can download any of my images for personal use for just $19.99, and to make it easier, use coupon code "blogpro" without the quotes for 10% off everything in my store through the rest of the year (terms subject to change).

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Snowy Storm Scene

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 06 Feb 2013 01:00:00 GMT

Snowy Woods Horicon-41-Edit

A fun quick study of snow covering a wooden fence and tree in a field near the Horicon Marsh. I find the noise at ISO 400 is a good texture. I'd prefer more depth of field but I didn't have the tripod with me. It will be covered with snow again and next time I'll bring my tripod. Lightroom did the BW conversion and there's a slight blue tone just to give it a more silvery look. There are numbers of ways to warm or cool this image with split toning.

Shooting a Snowy Forest With Color Gel

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 01 Feb 2013 01:00:00 GMT

Snowy Woods Horicon-89

Out in a recent snow storm I found the woods near the Horicon Marsh interesting, every branch covered with snow. It was a forest made out of snow. I didn't have a tripod to enable me to shoot a high aperture, but a sharpening trick in CS6 enabled me to get reasonable detail. The obvious element of interest is the blue light. It's a Honl blue color gel on an off-camera flash triggered by a PocketWizard. I did enhance tones and sharpness in CS6 and color, vignetting and contrast in Nik. Unfortunately these snow forests last only about a day, as the wind and sun diminish the effect. To get the snow in its freshest, fluffiest form, you have to shoot during or immediately after the storm.

I like the way the eye goes to the dark trunk and then follows the blue to the right third, where it then follows a bright opening up into the deeper woods, and there's a nice suggestion of depth with the farther trunk lines in the background contrasting with the plainer white foreground. The snow is gray, and it should be color profiled, but it was a gray storm. Too much brightness and it wouldn't represent what I experienced.

Crashing Waves in Lake Michigan, Sunset

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 31 Jan 2013 00:00:00 GMT

Crashing Waves in Lake Michigan, Sunset

Golden light spills onto grass and clouds as waves roll toward shore on Lake Michigan in Sheboygan, WI. The secret to this photograph is the use of flash sidelight to illuminate the grass in the foreground, giving it a pop of color and light necessary to balance the brightness of the sky. Leading lines and the rule of thirds work to the image's advantage, with the wave and slope of grass leading to the lighthouse, which contains the eye and bounces it back to the sky to start the viewing over again.

Review of Westcott Apollo 28" Light Modifier with Recessed Front

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 29 Jan 2013 02:00:00 GMT

Westcott Apollo 28" Light Modifier with Recessed Front

Excellent Quality and Value

Pros: Lightweight, Easy To Use, Reliable

Best Uses: Traveling, Everyday use, Studio, Portraits

Describe Yourself: Professional

Was this a gift?: No

I incorporate this soft box into my portrait, wedding and general photography. The umbrella mount and the Velcro front panel make it easy to set up or collapse in about two minutes or less. Even when set up, it's fairly easy to move around on a light stand, just big enough for one or two subjects, but not too bulky. The box gives you plenty of tilt for most applications. The recessed front means less stray light. The light is studio quality. I saw top pros using this and after researching different brands I decided this was the optimal size and feature package for my budget, and the umbrella/flash mount it came with is actually sturdy and reliable. There's only one very minor annoyance: When collapsed the umbrella tube always falls out of the runner -- the part that you push to stretch the umbrella. You have to guide it back in each time you set it up, which takes only seconds. But given how close the end is to the front panel when opened up, it may not have been possible to make it any longer, and other soft boxes may have the same design. I would buy this again.

(legalese)

Advantages of Shooting Raw vs. JPEG

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 24 Jan 2013 01:49:01 GMT

While most pros have decided one way or another on the topic of raw vs. JPEG, these formats of digital photography capture are still a mystery to most amateurs and there's a lot of blind leading the blind out there.

There's no right or wrong answer to which format you should shoot, except what's the most effective for you and best fit for your desired result, but I hope to provide some compelling evidence to shoot raw, at least if you're serious about getting the most out of your camera and digital files.

Did you know JPEG files sacrifice up to 80% of the original captured information, or that the shadow areas in raw files contain more levels of tonal information per pixel than the tonal range of an entire JPEG file?

The science is clear that raw files contain far more information and flexibility than JPEGs, and new software has rendered the old challenges of processing raw completely moot, as now anyone can get the software necessary to manipulate raw files with virtually the same ease as JPEGs.

I suggest you learn as much as you can about each format before you choose. The more you know, the less susceptible you'll be to the rampant myths and misinformation there is about either file type.

To be clear, my focus is mainly on the formats as used in digital capture. What other uses they have are generally not covered, though I touch briefly on formats used for printing.

If you're just shooting snapshots of the kids and sending them to grandma, raw is probably not for you and you don't need to read any further. But if you have any desire to get the most out of your images and the expensive sensor you paid for, you owe it to yourself to explore the differences between raw and JPEG.

Crashing Waves in Lake Michigan, Sunset

Without raw, I could never have developed this image as you see it.

About Raw

Raw is simply an unprocessed proprietary camera file, much like a film negative. It contains all of the information captured from the sensor accompanied by a file containing information about the image that requires a software program, like Adobe Lightroom, to interpret and export to a finished file, much like a lab would process a negative into a print.

This is where the flexibility and power of raw lives, its "rawness" and ability to be processed and developed to your taste -- like a negative -- and not the camera's tastes (like JPEG). The only settings that affect the recorded pixels of a raw image are ISO, shutter speed and aperture, according to Bruce Fraser, author of "Understanding Digital raw Capture" for Adobe.

Non-exposure settings, such as white balance, contrast, saturation, tone curves, color space, noise reduction and sharpening, ride side-car to the original sensor information in the form of an XMP file and are loaded into the raw editor for you to see as a preview. On the camera LCD, they're loaded specifically as a JPEG preview. Processing software, such as Lightroom, enables you to make development adjustments to the side-car information. Changes aren't actually applied until you convert the raw file into something else, like JPEG or TIFF.

To further get a sense of what raw is, recall that in film you can leave a set of instructions with your negatives and have a lab make prints according to those instructions. You can always go back to the negative with different instructions and make a new print because the adjustments affect only the print, not the negative. Light is simply passed through the negative onto the print paper.

The side-car information "stapled" to the raw file is like the set of instructions for how to process a film negative. A program like Lightroom looks at those instructions and renders a preview -- or copy, if you specify -- of the image, but the original file is never touched. In fact, you can never actually edit a raw file. You can only edit the information about it. That means you can keep changing it without affecting the quality of the original file. This helped earn raw the nickname of digital negative.

Is Lightroom the only way to process raw files? No, there are many other programs, including Photoshop, Aperture and CaptureOne.

Another reason raw files are similar to film negatives is because of their tonal range. Raw files contain at least 4,096 levels of tonal information in each pixel. This means a greater range of tonalities to work with. Raw files that are 14-bit contain 16,384 levels. By comparison, JPEG files contain a total of only 256 -- that's right just 256 -- levels of tonal information per pixel, almost no latitude compared to raw.

The greater bit depth of raw means each pixel has more levels of tonal information to play with -- much more. You have the ability to move the negative around -- to bring detail out of bright highlights or deep shadows, for example -- until you achieve just what you want.

One of the most famous photographers ever -- if not the most famous -- is known for his extensive work in developing film negatives in the darkroom, involving clinical filtering, dodging, burning and other techniques used to develop film negatives into prints that helped make photography into a widely-accepted form of fine art. His name is Ansel Adams. It's no leap to imagine that if Adams were alive today and shooting digital, he'd relish if not prefer the information-rich raw files of today's digital cameras over JPEG.

Advantages of Raw

Original file is never degraded. Adjustments simply travel with the raw file and are never directly applied.
Processing settings, such as white balance, sharpness, noise reduction, tonal curves and color space are not applied at capture, so you can change them however you want in post processing. You, not the camera, are in total control over development.
More exposure latitude, meaning you can adjust more stops up and down without significant degradation.
Original file is 12-bit or 14-bit, containing 4,096 to 16,384 tonal values per pixel -- 65,536 for 16-bit files. This means finer detail, especially in highlights, shadows and tonal transitions, and more dynamic range. The shadows in a raw file alone contain as many brightness steps as an entire JPEG image.
Processes just as easily as JPEG with the right software.
Finest image quality worthy of the largest prints.
You can apply camera color profiles that precisely restore and correct colors for a given spectrum of light to any raw file at any time.

Disadvantages of Raw

Requires special software to process and in some cases view.
File is larger.
File takes longer to process in-camera, can be very slow on pocket cameras.

About JPEG

If the sensor is one of the reasons you paid so much for your camera, you might not like the facts about JPEG.

When you take a JPEG photo, rather than retaining all of the information from the sensor, the camera makes certain decisions regarding things like white balance, contrast, even sharpening, then bakes them into the file and discards all of the other data -- about 80 percent of it, according to some calculations. There's not much original sensor information left in a JPEG. The camera then compresses the finished image into a format that almost any computer can read. Every JPEG that comes out of the camera is done: 400 degrees, three hours, dry as a goose, stick a fork in it.

As Fraser put it:

"When you shoot JPEG, you’re trusting the camera’s built-in raw converter to throw away a large amount of the captured data in a way that will hopefully do the image justice. This is exacerbated by the tendency of most camera vendors to impose a fairly steep contrast curve in the raw-to-JPEG conversion in an eﬀort to produce a JPEG that resembles a transparency. In the process, they throw away about a stop of usable dynamic range, and you have essentially no control over what gets discarded."

If raw is a digital negative, think of JPEG as a digital slide. The main difference is with digital, raw gives you the ability to further refine sharpness and noise, something not possible with film. If raw is writing in pencil, JPEG is writing in pen. Editing a JPEG is like trying to manipulate a painting that's already dried.

A JPEG file that comes out of the camera is already the second generation of the original sensor information, and when you make even the slightest edits to that JPEG in any program, Lightroom or otherwise, the output becomes the third generation. With raw, the first-generation information is retained from camera, and any changes you export from the raw file are only the second generation, and you can make as many second generations as you want from the same raw file.

More JPEG Limitations

If you're thinking the non-destructive editing of Lightroom saves the day, understand that Lightroom makes non-destructive edits only in the sense that what you see is a preview, but when you export the changes, which is necessary for anyone else to see them on say a Web page or print, Lightroom still must render the changes onto an already-processed JPEG that doesn't have nearly the latitude of a raw file.

"JPEGs oﬀer fairly limited editing headroom—large moves to tone and color tend to exaggerate the 8-by-8-pixel blocks that form the foundation of JPEG compression—and while JPEG does a decent job of preserving luminance data, it applies heavy compression to the color data, which can lead to issues with skin tones and gentle gradations when you try to edit the JPEG," says Fraser.

Remember that raw pixels have a lot of depth of information -- thousands of levels. You could "flip through" those levels to bring out just the detail you want. JPEG has 256 levels of tonal information, not thousands. There's a teeny tiny bit of leeway for you to make some edits without highly noticeable degradation, but not much.

JPEG is still a good file, when it's exported from a quality raw file or when it requires almost no post processing. But contrary to what you might think, generally all images require processing to get to a professional standard. When you work with raw, you have to output most images as JPEGs so labs and computers can read them. A JPEG contains enough information to make a fine print. I for one covert all my raw files to JPEG for finished products so they can be displayed on the Web and on clients' computers because JPEG is high quality and portable. But it offers less latitude for processing. I do all my work on the raw file, where I have full flexibility and quality, and then compress into a JPEG.

Advantages of JPEG

Faster processing, since the settings are final and baked in at the moment of capture.
Smaller files for more economical storage.
Requires no processing or conversion to view. This makes it a fast solution for proofing and increases compatibility with devices.
Still has minor development latitude.
Quality worthy of large prints.

Disadvantages

All edits degrade the image in some way.
Discards about 80 percent of the original sensor information.
Image is captured as a final product, with limited development latitude.
Original JPEG file is 8-bit, containing only 256 steps of brightness from white to black, compared to raw's 4,096. This means less available detail in shadows and less dynamic range.

Summary

Photographers tell me this same story all the time: "If I go out and shoot a perfect JPEG and get it exactly how I want it in camera, with great exposure, great light, great color and contrast, why do I need raw?"

Good question, and the answer is simple: "Perfect" negatives don't negate the qualities of raw. Yes, you got that one shot, maybe 90 to 100% perfect, but what happens 10 years later when you want to go back to that shot and reinterpret it? The JPEG discarded up to 80% of the original sensor information and you have almost no latitude to adjust color or tonality without seriously degrading the image. With raw, there'd be virtually no limit to what you could do with the file, and new software unlocks more raw file potential every few years.

Also, while the JPEG you shot yesterday may stack up well among files from today's cameras, it won't against even JPEGs 10 years from now. But raw will continually benefit from advancements in processing that extract more and more information out of the same file.

I know this story too well first hand. In the early years of digital, I shot mostly JPEG because there wasn't a practical raw editing system like the tools available now, and I didn't really understand the benefits of raw. I shot in fantastic locations like Alaska. Thank God I shot a few raw frames of Mt. McKinley, but sometimes I still kick myself for shooting mostly JPEG. I can't go back and apply new developing tools and techniques, like color profiling. I can't play with as much dynamic range or bring out as fine of details. There's simply nothing you can do to manipulate a JPEG without damaging the original file.

With the wealth of tools today and the techniques I know, I could do so much better processing my old files if they were RAW. This is one of the main reasons I'll never rely on JPEG again. There's just too little potential for the file.

"JPEGs are relatively inflexible files -- we may see improvements in their handling, but any such improvements are likely to be modest. Raw converters, however, have undergone radical improvements...and there's little reason to think that the next 10 years won't see similar improvements. Shooting raw will allow you to exploit these improvements as and when they happen," Fraser adds.

Does that mean you "need" raw? I don't know. Like I said, it's a choice and a different approach to shooting -- one in which the camera makes the developing decisions (JPEG), or one in which you do (raw).

If you're just a pocket snap-shooter, you can stick with JPEG. If you don't understand photography and simply don't care, raw is only going to unnecessarily complicate your workflow, if you have one. JPEG requires no processing and is easily read on any device. Also, your camera will shoot faster on JPEG than raw.

Myths

People love to argue that you can't see any difference in a print. That may be true on a dot-for-dot level. To print, you must compress the raw into a JPEG, reducing it from 14 or 12 bits to 8.

Others claim you can't see a difference on screen, that you can never fully use the color depth or dynamic range. That's not true. While you may not see the differences with your eyes, they're still real in the file.

Seeing all of the raw information at once has never been the point of shooting raw. Raw gives you a lot more information to play with and thus more development potential, more than JPEG allows, to achieve the best version of the file possible, which in turn makes it possible to create a print that better meets your vision, even if the dot-for-dot quality is the same on screen and in print.

The purpose of shooting raw is not so you can fix mistakes later. Taking that approach immediately degrades your photography because you don't care about the quality of the original capture. If you're off by even a half stop or more on exposure, correcting it in raw will still introduce noise that will take work to remove.

The true purpose of raw, in my opinion, is to put the most quality possible into the original image, giving you the highest quality of information to work with, thereby increasing the ability to generate a better final image. A bad exposure in RAW is still just a bad exposure. You simply have more latitude for editing it, but not enough to restore detail or light not captured.

There are other phony reasons for not liking raw. One is the idea that it's more work. With programs like Lightroom that read raw just as easily as JPEG, there's nothing inherent to the raw file that takes significantly more effort to process -- more time in some instances, maybe, but the simple adjustments like sharpening and noise reduction, which are likely to be the same across large groups of images, can be batch applied as the images are imported from the memory card. Simple corrections of white balance and color in raw can take painstaking efforts to reproduce in JPEG and will most likely degrade the image.

The most work I remember ever putting into a file was trying to nuance a nice black-and-white version out of a color JPEG without degrading the original file. I did extensive clinical dodging and burning in various parts of the mountain scene. Had the file been raw, I could have accomplished the same thing with Nik Silver Efex and brushes in Lightroom in a fraction of the time, and it would've been non-destructive.

Having a "perfect" negative doesn't negate any qualities of raw. Adams, who literally wrote the book on negatives, was a stickler for processing perfect negatives into perfect prints, usually through extensive darkroom techniques. He wasn't known for shooting slides or printing unprocessed negatives, nor is it likely he'd recommend it. As much art lies in the development of an image as it does in the capture. More development potential has never hurt any file that I've known.

Said Adams, "The negative is the equivalent of the composer's score, and the print the performance."

If you'd like to learn more about how to use raw, please contact me for one-on-one learning.

Lake Michigan sunset lighthouse-1 This is the image at the top of the article as it originally came from the camera. If I had to pull enough information out of this as a JPEG to get the finished result that you see at the top of the page, the file would've been destroyed. There would've been unrecoverable noise, banding and color shifts, and it would've been a lot more work. The raw contained the information I needed to develop the image as I wanted. If this had been a JPEG, this image would've come out of the camera as a compressed finished product with only 256 steps of brightness. Every adjustment on top of that would've been destructive.

References

Adobe: Understanding Digital Raw Capture

Cambridge in Colour: Raw File Format

Cambridge in Colour: Image Types: JPEG & TIFF Files

Resources

Ron Day Photography: Perceptible Variance Between Raw and JPEG Images

Understanding How TTL Flash Photography Works

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 09 Jan 2013 02:00:00 GMT

D100 built in speedlight-7

Flash exposure -- just those two words are enough to boggle even advanced amateurs. But when you understand how flash works, it opens up a whole new world to your photography that's just next door.

The fear and frustration related to flash come in part because the systems are so automated it's difficult for a beginner to really understand how they work, and the manuals shed little light on the subject. It also comes from not understanding exposure in the first place, which is practically a prerequisite for understanding flash.

There's also an assumption that since intelligent TTL is automated it will make gold for you without any understanding or input. If that were true, few people would be frustrated with their flashes acting like slot machines and you wouldn't need to read this. ITTL flash can be a boon to your photography, but only if you understand how it works and how to apply it.

So, let's explore how iTTL flashes work, starting with the pop-up one on your DSLR, known as a Speedlight.

You press the shutter button.
The flash sends out a pre-flash at a fixed amount of power, the same power every time.
The pre-flash reflects off of the subject back through the lens (hence TTL) and the camera meters it. The camera has in memory the amount of light the pre-flash put out and the amount of light that came back through the lens. It then does the math to figure out how much light it must add or subtract for the actual exposure to render the subject an average of medium gray given whatever aperture and ISO are set.
The camera begins the exposure.
The camera tells the flash to fire, staying on long enough to fill the subject to 18% gray.
The camera cuts off the flash and closes the shutter.
All of this happens in a blink and appears as one flash.

Read the process until you understand it. When the shutter opens, the camera tells the flash to turn on, like a lamp, and stay on until the camera sees 18% gray reflectivity, or luminance, on the subject. Then the camera tells the flash to turn off. It's just a lamp going on and off. What makes it cool is the camera controls when the flash turns on and off. This communication can even happen remotely with a flash commander.

Maybe you're starting to understand why iTTL flash is a fine automated system and a great advancement. Using a pre-flash and the meter built into the camera to measure light and make flash calculations as you press the shutter button is an ingenious system. It takes the manual labor right out of the equation. Before TTL, that is with manual flash, you would need a hand-held meter and knowledge of inverse square law, and the exposure would change if you moved the flash or subject, or changed the aperture or ISO. Not so with TTL; it exposes the subject the same even as you change settings on the fly.

TTL may get a good exposure most of the time, but why does it still act like a slot machine sometimes? The same reason your camera sometimes acts like a slot machine, if you don't understand it: It uses the same reflective meter. TTL removes the manual labor of flash, but it replaces it with one simple result: to render every subject medium gray, no matter what else is going on. This is a blessing and a curse. Knowing that the flash will expose the subject as medium gray makes iTTL somewhat predictable and easy to use. However, it also means iTTL is capable of giving you only one result automatically. If the subject is black or white, the exposure will be lighter or darker than it should be, respectively.

Let's get into how you can exploit iTTL's single-mindedness to achieve great photographs quickly. Similar to exposure compensation on the camera, you can add flash exposure compensation on the flash to override the medium gray exposure that the flash will come up with by increasing or decreasing flash output. For example, if you have a group of people in black suits, you can tell the flash to take its exposure down about 1/3 or 2/3 stop so the faces are properly lit but the suits stay black and not gray. Or you can tell the flash to add 2/3 stop if you're photographing a bride in a white dress against a white background to avoid the dress coming out gray. Flash exposure compensation changes the exposure of the subject illuminated by flash, not the overall image.

Yet another incredible feat that you can do with TTL is use it to give the subject consistent light while changing the level of ambient light with either shutter speed or aperture -- automatically. And you thought this could only be done with manual flash. You must do this in manual exposure mode on the camera, but the flash can be in TTL. With the camera in manual mode, you have full control over the ambient exposure, while iTTL flash takes care of the flash exposure. If you go in a program mode, the system will automatically make the exposure 18% gray no matter what settings you use. However, even in manual exposure mode, TTL works the same way; it automatically outputs enough light to make the subject medium gray.

To go into detail, if you increase the shutter speed, the ambient goes darker, but the flash still puts out enough light to make the subject 18% gray, or whatever compensation you put in. Even if you change the aperture, iTTL still produces the same result. This is different from manual flash because with manual flash the output is constant, so if you change the aperture, you also cut some of the flash input to the exposure. Also, in manual, if you change subject to flash distance, you change the flash exposure. However, neither aperture, distance nor ISO affect flash output in TTL, even when shooting in manual exposure mode on the camera. In iTTL, the output is variable, but the result is constant. This is a tremendous help in getting the look you want quickly without having to meter light. It's also further proof that the flash automatically produces the same result no matter which variables you change, unless you add flash exposure compensation.

Tips for built-in flash:

Stadiums: Turn the built-in flash off in arenas to save battery, and expose for the light falling on the field. Use an ISO of 800 if necessary, or higher if you have a pro DSLR, but expect noise (grain). Built-in flashes aren't powerful enough to reach a field, in most cases even if you're in the front row. This is why I always get a chuckle when I see the thousands of flashes going off at sporting events, even up in the nosebleeds. The only thing a built-in or even external flash will do in those circumstances is illuminate the people in front of you. Whether or not the field or any players are properly exposed depends solely on whether the camera is properly metering the ambient light falling on the field. There's a reason stadiums use massive banks of flood lights.
Built in flashes scarcely have an effective throw of more than 20 feet.
Use a light modifier made for built-in speedlights to soften the light on subjects within a few feet, but don't bother at long distances.
If you have an external flash, set it to slave mode and then use the built-in flash as a commander to experiment with off-camera flash. Leave the system on TTL for starters, and rotate the external flash so the head faces the subject but the infrared sensor faces the camera.
Avoid rapid-fire flashes. This drains battery and can lead to underexposure if the flash doesn't have enough time to recycle its charge.
TTL enables you to use flash at any shutter speed, but the faster the shutter speed, the closer the flash must be to the subject for it to be effective.
How can a flash fill in shadows without blowing out the subject? The simple answer is the light coming from the flash is brighter than the shadows but not brighter than the light falling on subject.
Fun fact: Flash power is a result of duration, not intensity, of light.

I've only touched on the basics of TTL flash here. But now that you know what it does and why it works, you can make it more predictable and use it with more confidence.

Horicon Winter Snow, Ice and Texture Photography

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 04 Jan 2013 02:30:00 GMT

Finally, the sun broke the overcast conditions we'd been having the past week here in Horicon, and I took the opportunity to go exploring some light out in the area. This time I landed at Discher Park next door.

Ice Dance

After scouting for images, I saw some icicles hanging off picnic tables that had been stacked for storage. They reached down about a foot from the end of the table to the ground. They were in a perfect position as the low light was filtering through from behind them. I knew that backlighting would provide a great texture and glow effect when exposed correctly. I knew it would be a nice, contrasty scene with texture and color.

That brings us to the exposure. How do you possibly capture this? Fairly easily. You put an incident light meter in the sunlight and point it at the sun to get your reading. I like incident metering because it meters the light itself. When you meter the light falling onto the scene instead of light reflected off of the scene, everything in that light falls into place tonally. The incident meter isn't fooled by highlights and shadows or even the bright sun. If you place the meter in the sunlight, the sunlight becomes the average, and everything in that light will fall into place. Everything in the shade will be darker, as it should be.

Pointing the meter at the sun also means you're protecting your highlights, which is important in digital. If you were to turn the meter away from the sun, the sensor would be cast in shadow, and the shadows would become the average light. Everything in the shaded areas would be exposed properly, but everything in the brighter light would be overexposed.

To see this at work in the image, look at the bright snow. That's the light in which I placed the meter. That meant everything under that light in the entire scene would be properly exposed (the highlights), and everything in the shadows would fall below that, as it should. This is a way of practicing what Ansel Adams referred to as "place and fall," placing one point in the image where you want it and observing where the other areas fall. Metering is much easier to understand hands on, so go out and try it.

Notice also that the background is smooth and not distracting. That was done on purpose. As you'll see in the study image below, other angles would've thrown too many elements into the scene.

To finish the image, I did some tuning in Lightroom, where I had complete control over color temperature, and then it went into CS6 for some Color Efex curves and a bit of contrast. Since I was lying on the ground, I could get away with no tripod, but to do that I had to bump the ISO to 400, the highest I will go for landscape. The texture of the snow makes it look like there's noise in the image, but upon close inspection there's little noise. That's in part due to RAW processing. Had I captured this in JPEG and then tried to manipulate it, there would've been damage to the information.

You can only get images like this if you look for light. What's interesting is how the icicles actually focus light down their shafts into the snow. Look for light before composition. Expose for the light and compose for interest.

Images for Study

JAN_0063

A quick look at the scene in backlight.

JAN_0092 Swings are still in the winter. Exposing for the light, composing for the interest. Notice that hiding the sun behind a pole prevents harsh glare and helps create a star effect, though you'd need a wider lens to achieve a true star.

JAN_0083 The sun is directly behind the tree. This enables me to capture the light without worrying about the sun blowing out part of the sky. The light illuminates, and the shadows provide depth and texture.

Horicon Wood Texture Detail in Discher Park

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 02 Jan 2013 19:09:48 GMT

Weathered Pavilion Exterior Evening

Shape and texture abstract, Discher Park, Horicon. Metered with Sekonic 358, taken with Nikon D200.

An Exercise in Metering and Dynamic Range

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 27 Dec 2012 21:36:11 GMT

Fencepost Winter

Image: Nikon D200, Nikkor 24-85 f/3.5 lens at 24mm, ISO 200, 1/60 @ f/9, AWB, hand-held

A recent trip after a snow storm to what Horiconians call DNR Hill was a perfect way to practice some metering and snow exposures in what would normally be a challenging environment -- lots of bright white reflective snow.

The time was late afternoon. I had my D200 and Sekonic 358 light meter. When looking for a subject, I considered the wood fence post for its texture and character, and contrast with an otherwise white scene. The metering would be challenging with a matrix mode with all the white snow fooling the system into under exposure. Even in spot mode it would have required precise measurement and placement of the snow into the correct zone. To make it simple, I pointed the Sekonic's lumisphere toward the sun and took a reading. I knew metering the brightest side would protect the highlights and enable the rest of the tones to fall into place.

I put the meter's settings into the camera in manual mode. One snap and I checked the histogram to ensure the snow was placed far to the right without clipping, and it was dead on. No guessing, no bracketing, no fiddling with compensation. I knew the combination of incident metering with checking the histogram guaranteed me a rich negative, and with the settings locked in, I could recompose and shoot without having to worry about whether the exposure would change, like it would if I were using matrix metering. It didn't matter where I pointed the camera, other than at the sun; the exposure would be correct.

The negative is just the blueprint for the final print. It must be processed for contrast, color, sharpness, cropping and lens corrections. And in this case the image was flipped horizontally to maximize interest in the wood post. This is congruent with the rule of leading lines and rule of thirds. Had I kept the image in original orientation with the post on the left, the eye would be continually led out of the image to the right via the lines of the fence (see below). Now it stops at the post, scans the fence and sky, and explores the little patch of fungus at the lower right. The pattern repeats and the eye stays in the image.

The only processing done in Lightroom was detail and lens corrections. The image then moved to Perfectly Clear for auto toning, which amazingly did in a minute what would've taken extensive fiddling manually. Then it went into CS6 essentially just for greater control over Color Efex Pro adjustments, which were polarization, slight color cast removal, saturation, contrast. A little dodging was done in the lower right corner. Lightroom exported the JPEG directly to my website with the watermark.

The key to making this image started with composition and quality of light. It wasn't ideal fantasy light, but it was soft enough, starting to color, and the sun was behind clouds, and had I waited any longer for the light to yellow further, it simply would've become too soft to create any contrast in the snow. I even knew I would be flipping the image in post. The second key was incident metering of the light falling on the scene, not reflected light, for correct exposure, enabling the camera to capture the full range of values without loss of detail in the highlights or shadows. Notice that even in the brightest areas of snow there's fine detail and you can still see crystals. Lastly, the image was processed to bring the full photographic qualities out of the negative.

As always, if you want to know more about the image or photography, just email me.

Images for Study

Winter Workshop-3

I think you'll agree the original negative is high quality. The histogram would show most of the data is in the first two stops of highlights, and none is in the shadows. It takes software to enhance those highlights and shadows and shape the light to bring the eye where I want it. Also some distracting elements were removed, and the image was flipped horizontally. But without a quality negative, you'll be introducing extreme noise, shifting colors, destroying highlights and running into all sorts of problems that are impossible to correct or would take a lot of time to fix. Don't think that great images happen in the camera. They begin in the camera, but they need development, a fact Ansel Adams was passionate about. You'll probably agree it didn't take much to get from here to the final image.

Winter Workshop-2

This illustrates the limits of the camera's dynamic range. Even with a light meter pointed at the sun, you can only measure the light falling on the scene. The sun itself is millions of times brighter than anything else in the scene and therefore can never be brought into the dynamic range of the sensor. It will always be blown out. The rest of the scene is properly exposed, but the sun is way outside the 2.5 stops of light the camera can record up and down from the average. If you could expose properly for the sun, everything else would be black because the differences in brightness are too great for any camera to record. So, the light meter doesn't automatically mean a great image. You still have to understand the limits of the camera. The solution to this problem would be to take a high dynamic range image with three exposures -- one for the highlights, midtones and shadows. Then combine them in software. You could also choose to sacrifice the sky in the composition or lose details in the highlights or shadows, depending on what your subject is.

Winter Workshop-1

One of the solutions is to compose without the sky, or crop it out. In this image, you get a better sense of the light bouncing off the snow and illuminating the fence rail and icicle, and you get a beautiful opening of light in the lower right. I would also use the post to block the sun and even attempt a star effect with a small aperture. It's still important to meter toward the sun, which is the highlight side of the scene. That enables the shadows to fall below the highlights. If I had metered toward the camera, the shadow side of the scene, I would have overexposed everything, pushing the shadows closer to the highlight range and blowing out the highlights.

How Bob Ross Can Improve Your Photography

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Sat, 15 Dec 2012 21:30:00 GMT

Bob Ross -- you know, the guy who showed us how to paint happy little trees -- is a good guy to have live on your DVR. He's taught me a lot about how to improve my photography, how to think about it. It sounds crazy, but you can learn a lot by watching him paint.

Ross' style is distinct, not only his style of painting but his style of teaching. He's so relaxed, confident and at peace with his canvas.

You also hear him talk a lot about some very important things, most notably economy. Simple strokes can create the "illusion of distance," "the illusion of mist," the "impression of little trees." Ross' use of economy is so important to all forms of art, from writing to movies to photography. Less is more.

Ross also talks about light directly, showing how you need dark to show light. You need shadow to show shape and depth, things that apply directly to photography. Simple applications of paint over paint can create the illusion of light shining through other elements. Beautiful.

The purpose of watching Ross isn't to repeat concepts we already know. It's to see the craft of photography in a new light and maybe help us think about it in a new way to push our images to a higher level. Sometimes it's easier to see how a principle applies, or what it means for your own work, when you see it used somewhere else -- in this case painting.

Ross also understood values, another term he used frequently. Values are essentially the brightness of the color you're using. This applies so well to photography because the most important thing in photography is the use of light. Light gives us form, texture, color, emotion, beauty. And what Ross did with values, it would benefit us to do with light -- use it to shape, form, define, illuminate, inspire, tell a story.

Ansel Adams also understood this, which is why he helped create the Zone System for placing different elements of a photograph in different value zones, from shadow to highlight. You can't actually store light on film or paper any more than you can put a tree into a painting. You can only create an impression of it, and you do that with values. You know a photograph is great when you can see the quality of light at play.

If you can, catch a Bob Ross episode or buy one of his DVDs. He'll show you all about visual art that you can apply to photography. If you're stuck in your photography, consider this: The light is the paintbrush and the camera sensor is the canvas.

DSLR Camera Buying Tips -- A Quick and Dirty Guide

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 13 Dec 2012 17:52:59 GMT

When the unwrapping is done, and the snaps begin, I want you or that gift recipient to get the most out of that new DSLR. But if you haven't purchased yet, I can help you separate marketing from substance, figure out what's important and navigate the shopping experience to not only get the right DSLR but save money.

In the early days of DSLRs, megapixels -- the building blocks of digital images -- were more important because there were so few. Now, with typical DSLRs ranging from 12 to 23 megapixels or more, worries over enlargement quality don't even apply to the average consumer or even pro. As a consumer or advanced amateur, you'll likely never encounter situations where more megapixels will give you an edge, so don't fall for a sales pitch that tells you otherwise.

To elaborate, a 6-megapixel DSLR will produce better files than a 10-megapixel pocket camera. It's because the DSLR starts with a larger sensor, so the information isn't crunched into a tiny rectangle, and to enlarge it the pixels don't undergo as much stretching or "interpolation," when the computer fills in information between pixels.

File quality has more to do with the quality of information in each building block, and that's due in large part to algorithms built into the camera's computer -- how it processes colors, gradations, noise from the data recorded. Today's DSLRs have very powerful computers, many times more advanced than the first DSLRs.

So, bigger sensors, not necessarily more megapixels, equal better files, and any DSLR has this advantage. Note I said better files, not better images. Photographic value comes from the photographer. On a bigger sensor, yes, more megapixels is technically better, enabling larger prints. But 12 to 16 megapixels in today's high-powered DSLRs is more than adequate for stunning prints up to 20x30, which you'll almost never make. Case in point, I've made 16x24 canvases with images from my 10.2-megapixel D200, which is from around 2007.

Now let's go shopping. Any camera sold in stores is likely the latest model, so you don't have to worry about its processor being a generation behind. However, study the differences between models of the same brand. There might be an older generation among them, or there might be one with a different processing engine. For example, the Nikon D4 has the Expeed 3 engine, while the D3x has Expeed -- both top cameras.

People at Best Buy and even at some camera stores not imaging professionals. Don't rely on salespeople to tell you what the best camera is, and don't ever let them tell you a camera takes "better pictures." The camera affects only the quality of the digital file, not the photographic value of the image. Engineers designed a computer that could beat Garry Kaspirov at chess, but they haven't designed a camera that can take better pictures than a photographer.

Pick up cameras and play with them. Think about how the features apply to you. Consumer cameras are filled with gimmicks that people try to sell you, and while they may improve your snapshots, the overall quality of the camera and how you can grow into it is more important. Figure out which has the best options and controls for what you or the recipient wants to accomplish. Controls are very important as the camera should become an extension of the mind.

As for brand, most pros, including me, agree that Nikon and Canon are the best two brands. This is because of advancements in tech and glass and their resources to continue developing the best imaging devices, not to mention their selections of hundreds of lenses and accessories. It's not about which brand is better; it's about which works best for you. If you're buying for someone who already uses a certain brand, then the choice is moot. Nikon and Canon lenses and accessories are not compatible between brands.

One last important thing -- if you're serious about photography, approach the camera the way a painter approaches a brush. Literally any DSLR of any reputable brand can yield amazing images. The world of photography didn't crumble because the original D1 had only 2.7 megapixels. It was the pros who used it who created great images, not the camera. Explore your camera's capabilities and make use of all it has to offer you.

That's the gist. If you have any specific questions, please comment or email me and I'll be glad to help.

Shooting the Holidays: Christmas Decorations

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 04 Dec 2012 22:51:16 GMT

I wanted to record my wife putting up some Christmas ornaments on Saturday, but of course I couldn't just whip out the camera and click a few shots. I had to set up a little studio. And I wanted to illustrate the benefits of off-camera flash.

So here's what the setup looks like (not the final shot). The light is off camera pointing slightly off to the right of the subject. That's because I didn't want the full center of the light on the subject, only the soft edge, which is called feathering. I don't remember the exact settings but the flash was probably set to about 1/4 power on manual mode about 6 feet away, and I used a Sekonic L-358 light meter to meter the flash manually. This is so I know exact amount of flash contributing to the scene and can get consistent, repeatable results. I put the settings the meter tells me into the camera, most importantly the aperture and ISO, and fire. I simply stood closer to the subject and used a 24-85 mm lens on my Nikon D200.

JAN_0073-Edit

So, below is one of the final shots, and it's a bit set up. I directed the model on what to do and waited for the best moments to snap. Notice also the composition. There's a strong foreground element, albeit purposely out of focus, but I really wanted the subject to be the facial expression, and to get that I had to sacrifice some sharpness on the ornament. Notice how your eye bounces back and forth between the ornament and the face, keeping you inside the image. I could also have gone the other way, putting the ornament in focus and letting the face blur out.

JAN_0066-Edit-2-Edit-Edit A single light source contributing about 100% of the light is a main light. It leaves a deep shadow on the opposite side of the subject, and you can see that here. The light falloff also leaves a bit of the foreground in shadow. However, I didn't bother filling those shadows because these are just Christmas decoration shots, not fine art portraits; but I wanted them to look good and illustrate lighting principles. Because the light is off camera, there's no reflection in the window or glasses, another reason to use off-camera flash.

For post processing, I ran the image through Perfectly Clear, which took about two clicks to intelligently process the image to what my eye wanted. I did a bit of quick dodging with a layer in CS6 to bring out the facial shadows, and finally I played a bit with soft focusing and curves in Nik Color Efex Pro. You can also dodge quickly in Lightroom, but I wanted to experiment with layer dodging in PS. The image would have been fine with just a few clicks in PFC, however. The quality of light, almost a Rembrandt style with a triangle of light underneath the far eye, and correct exposure is due to the use of modified light metered accurately, not post processing. Software merely made minor enhancements to an otherwise good negative, which is the point of getting it right in camera, and it gives me the opportunity to play with effects.

Off camera flash is really a subject for another post, and I hope to do a blog post soon showing you how to use options in your own speedlight (using Nikon as an example) that you probably never knew existed or never though you could use, but it's not that hard! So stay tuned for that. Until next time, merry Christmas, and better shooting.

JAN_0060-Edit

Horicon Portrait Photographer Now Accepts Credit-Card Booking

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 06 Nov 2012 16:57:44 GMT

In continuing efforts to make my customer experience better, I've signed up with Square, that neat little card reader that enables you to swipe credit cards on your iPad, etc.

With Square, you can now book or buy gift credits from me over the phone or in person with credit card. This makes it easier for you to make your retainer deposit, or buy gift credits at your consultation. It also makes it easier for you to pay the remaining balance on your wedding. You just swipe your card normally just like you would at a store, no fees, no accounts, no signing in to anything.

Using credit card could also mean more reward points on your card, and it gives you a little more time to pay. It's more flexible than cash or check.

Paying with credit with Joel Nisleit Photography won't cost you any convenience fees or a penny more than paying with cash or check, so take advantage of this service. Credits cards, of course, have always been accepted and will continue to be accepted at my online shopping venues, Pictage and Zenfolio.

Why I Love Capturing Wedding Moments

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 06 Nov 2012 00:16:01 GMT

I don't claim to be the nation's premiere moment photographer. I've certainly learned a lot from celebrity photographers like Joe Buissink. But that guy's charging $10,000 for weddings all day. I want to give you a taste of that Hollywood buzz for a Midwest hometown price.

This is why I value moments in photography, and wouldn't you know some of the best moments aren't choreographed, planned or even directed. They just happen. You know this from life. You remember the moment you met your spouse-to-be. You remember the moment you did something spontaneous and funny together.

But will you remember every moment from your wedding? As most couples say, the wedding is a blur, and usually it gradually comes back together over the years, but I can give you a little help. I can give you images of moments that probably fled your mind the minute you had your first dance with your spouse or shared your first kiss as a married couple. I can bring some of that back for you 20 years from now.

Take this shot for example.

Lake Michigan from Blue Harbor They're in motion. They're moving from one exciting moment to another, oblivious to the camera. They're embarking on their journey of marriage, enjoying the scenery, weather, and each other. This is the shot after the shot. The directed shot was good too, but if I'd have put the camera down after I told them I was done, I'd have missed this beautiful moment. This is what you want to remember 20 years from now. There's a feeling of excitement, joy that comes back when you look at something like this.

Here's another.

That sideways glance from the bride gets me every time. She's tossing that smile over her shoulder, having the time of her life, and the groom's eating it up too, maybe because they've just shared something that only they'll remember later on. And look at the way that ring hand rests on his shoulder -- moments that bring you right back to your day, that tell a story. The black and white eliminates the distracting colors and elements in the background and enables you to focus on the quality of light on the faces, the expressions.

When you choose your wedding photographer, and I hope it's me, think about these moments. Do you want someone who poses everyone smiling at the camera? Or do you want someone who's there in rhythm with you, getting all the little moments that tell the story of your day, and someone who knows how to present them? That's Joel Nisleit Photography.

Benefits of "Location-Only" or Environmental Portraits

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 01 Oct 2012 17:36:13 GMT

I've had parents call for senior portraits, and when they found out I didn't have a studio, I never heard back. That was unfortunate -- for them. People are so used to the idea of sitting in a studio filled with backgrounds, props and lights that they think that's all there is to photography. But when they get there, they freeze up, intimidated by the whole setup. Fortunately, there's so much more to photography than the studio, all you need to do is open your eyes and see it.

Of course, on-location or environmental portraits have been done for decades. You know this if you're married. Weddings are typically shot on location, outdoors, with minimal equipment. If we can do great portraits in those conditions, why would it be any different for anyone else wanting a portrait and it happens to be on location?

One reason I think people are nervous about environmental portraits is they forget a professional is behind the lens. It's a horrible misconception that if a photographer doesn't have a studio he's not professional. Plenty of professionals, including myself, make great art outside of the studio, and many would never want to be caught in one. The difference between a snapshot and a professional portrait is understanding photography, the actual art of painting with light. It's not the location. You could put a hundred amateurs in the same location with the same equipment and get mediocre results. It doesn't matter whether you're in a basement -- in which, by the way, I took my self portrait for this website -- outside or in a studio. What matters is that the professional understands photography and can apply it to the situation.

For example, look at the shot below. There's no studio lights, no fake background, no digital backdrop. It's all on location in a crusty barn with horrible lighting. But I made it happen. I had given the couple direction but when they drifted off course and started playing around, did I stop shooting? Heck no. I snapped away. A little enhancement later, and those shots became timeless moments shot in the crummiest of conditions that -- guess what -- didn't matter one bit because I knew how to shoot and enhance it.

Engagement in Lake Geneva Captured on location in front of an old barn door. The barn is part of the man's life and incorporating it not only provided a naturally interesting backdrop but adds meaning to the photograph for the subject.

Engagement Kiss Another example of a moment captured in that natural environment. No digital backgrounds. No 20-lb. lights. No studio. Just a crusty old barn with horrible lighting, transformed by portable Speedlights and some software.

Here I simply tracked the couple as they walked around the resort not paying much attention to me. The result is a moment where the bride tosses a smile over her shoulder. We don't know why or to whom, but it's interesting, and she pops against the big dark sky. Is the groom partially cut off? Yes, but who cares? This is all about the bride's moment, the emotion you couldn't recapture in a thousand posed repeats.

I know a lot of us still like posed shots. They have their place. This shot was posed. It's good, but is it as charming as the moments between moments, where the subjects are captured doing something spontaneous?

Environmental portraits provide things the studio can't. Putting the subject in her natural context, for example, is impossible to do in a studio. Sure you can lay out all her sports memorabilia in an interesting way, and you can drop in a digital background with a lot of work, but that's not as good as putting the girl outside on the pitcher's mound or on the bleachers, or on the basketball court. You don't take a portrait of a welder in a studio. You take it in his work environment where you can capture the grit of the tools of the trade in a more natural way. And there's nature everywhere that makes for beautiful settings and backdrops without the need to cram everyone into a studio. With portable strobes, understanding of photography and proper use of software, we can make almost anything happen.

Environmental portraiture also offers dynamic settings that are never the same. Even the same spot in a park at the same time of day will not look exactly the same two days in a row. Not with one hundred repeats could you get the exact same shot. You get something different every time, keeping things interesting and ensuring you never see the same exact portrait twice.

The only difference between location and studio is consistency and control. The studio is an old standby. It enables the photographer to completely control every element. It's a consistent environment both in lighting and weather. But what happens as a result of that control? You instantly know the shot was taken in a studio. The poses are, well, poses.

Amateurs are obsessed with the idea of perfect poses. But the best photographers know that poses aren't the answer. The best shots are moments, directed or not, that occur without us positioning each limb and tilt of the head. They show the subjects doing something spontaneous and portray a moment so fluid and emotional it could never be replicated in a studio or even five seconds later. Wouldn't you want that for your senior, family or individual portrait?

I've never thought of the studio as a place of comfort. If you've ever felt comfortable in a studio, was it because of the studio or the photographer? Again, the professional makes the difference, not the location. It's rather uncomfortable, in fact, to be the focus of attention under lights and backdrops and props. It takes more work to make a subject comfortable in that situation that it does outdoors or in the subject's own environment. A good photographer can make you comfortable anywhere, probably more easily outside of a studio.

I want to direct a movie with you in it, not pose you like a puppet. The thing I hate most about poses is that I instantly know they were posed. There's no way around it. A pose is a pose. But a moment is a moment; you can direct it, but you can't fake it. I want a fluid environment where I can capture something natural about the subject. It could be a reaction, a look or a movement that isn't posed. Most of the wedding shots I posed are not as good as the ones after the pose -- the moment between moments. Maybe the original shot is over and a new moment happens all on its own. That's what I capture. Moments, emotions, light -- that's what it's all about.

Nikon Diffuser vs. Gary Fong Lightsphere Lighting Tests

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 25 Sep 2012 18:43:56 GMT

Updated 2014: It's been two years and my excitement over Gary Fong's Lightsphere has completely worn off. After enough use and testing, I've found nothing that makes the Lightsphere worth being on the flash for anything more than a rare few shots at some weddings. Even though I've already paid for it, I leave the LS in the bag for emergencies only, or just when I want to look like I have some sort of highly useful, specialized equipment attached to my flash, even though it makes no real difference in the image.

One problem is a diffuser for on-camera flash is a last resort for me. My first choice is quality ambient light, then off-camera modified flash, then off-camera bounced flash. The last thing I'll ever do is on-camera flash, and before I use a diffuser, I'll look for a way to bounce the light. Also, the LS is so heavy, it slams down the flash head ratchet unless you leave it pointing up or locked down at a 90-degree angle.

So let's say I had to use on-camera flash. I did a bunch of tests with that using a realistic mannequin in my home with vaulted ceilings that you could bounce off of, not a church where the ceilings are 50 feet high. You can see in those results that there are many better options than the LS, no matter how you use it. In fact, if you compare the shot with the Nikon diffusion dome with the Lightsphere shot, there's no difference.

Prior to that, I had done some tests with a reflective exercise ball, again not scientific, that showed almost no difference between the stock diffuser and Lightsphere. You can see those tests below. I did three series of shots, each with the flash in a different position to the subject, and each shot in the series with a variation of the flash head angle and modifier. I was shooting in manual exposure mode, triggering with PocketWizard Mini and Flex units on full i-TTL, matrix metering. The equipment was a Nikon D200 and SB-700. In some of the direct lighting shots, you'll notice the exposure is dark, and that's because of the reflective nature of the ball. All the shots are straight from camera.

In the butterfly setup, the light is in front of the subject but up high at an angle. There's not much difference between the Lightsphere and bare light. The primary difference is the Lightsphere warms the light a little bit in this scenario. I don't know if it will lead to warming in every shot, but perhaps just the color of the ceiling (it's white, but technically Marshmallow from Sherman Williams) is doing it. The Lightsphere with dome probably provides the softest light, but not by much, and the Lightsphere without the dome is about the same as the bare flash.

In the standard setup, the light is about 45 degrees from the subject to the right and about five feet away. I took shots with the Lightsphere diffuser, with and without dome, and the Nikon diffuser and bare flash. The flash is pointing straight up in all shots. You can see the results are very similar between the Nikon diffuser and Lightsphere. If anything, the Lightsphere is a bit less specular and warmer, but not a lot. Notice with the bare flash that since the light isn't diffused at the source, the source becomes the ceiling (the larger highlight on top of the ball), and there's more of a falloff from the top of the ball to the bottom. With the Lightsphere, the light is diffused at the source, so you get a more wrapped light, which I like (first image). However, the Nikon diffusion dome (third image) produces about the same results in these shots.

All of the shots in the last series were taken with the flash on camera and pointed either up or straight at the subject. Notice in the top row, with both diffusers pointed up, neither one is bad. The Nikon diffuser gives you a bit more form than the Lightsphere, which blasts the light everywhere. The bare flash again is more specular with more falloff from top to bottom. But the Lightsphere without dome is also well lit. There's a big difference when shooting directly at the subject with the Lightsphere and Nikon diffuser; noticeably the Nikon shot is brighter. While neither device is meant to be aimed straight at the subject, I would prefer the brighter image.

I haven't been able to find more than maybe a 10 percent difference between the Lightsphere and stock diffuser, and as I cover in this article there are much better ways to get quality light than a diffuser. The Lightsphere without the dome is pretty much useless, as it compares similarly to the Nikon diffuser and in some instances bare flash, and in many cases it's worse.

Fong's marketing is more clever than most people will realize, and no doubt carefully calculated. In early vidoes, Fong only compares the Lightsphere to direct on-camera flash. Anything is better than direct on-camera flash, including bouncing and stock diffusers, so that makes the Lightsphere look like magic. Put an orange next to an apple, and the difference is obvious. Put an orange next to an orange, not so obvious. Only in later videos, perhaps realizing his blatant gimmickry, does Fong introduce comparisons to other diffusers, but again those are produced in a way that works better for the Lightsphere than anything else (discussed here).

If Fong would compare the Lightsphere to stock diffusers, I think he'd have a tough time selling the Lightsphere, and that's where I disagree with his marketing. His product is next to useless, but his marketing makes it appear as magic. He's not alone in this technique, obviously, as there are plenty of scheisters out there selling even more useless products, like the ShamWow, which I tried using to dry off my SUV after washing it only to find that it became saturated almost instantly and then simply spread water around, and when I wrung it out, it didn't resume picking up much more water.

In one video, Fong suggests that the LS replaces an umbrella, but physics are against him there. One key purpose of a soft box/umbrella is to enlarge the light source, enabling the light to wrap around the subject and ease the transition from light to shadow. No matter how diffuse the Lightsphere makes the light, it doesn't enlarge the source much, certainly not enough to wrap around a subject as softly as a larger modifier. The LS with dome is still better than bare flash if you want to soften your portrait by about 10 percent. It just doesn't beat larger diffusers. Fong knows this, but he's probably hoping you don't.

So is Fong doing false advertising? Not really. The Lightsphere does what it claims, to some extent; Fong simply fails to mention that a stock diffuser does pretty much the same thing, and bouncing, umbrellas or soft boxes can give you better looks. The key is to do your research before you buy anything, and test it before you use it. The LS doesn't produce bad shots, and I'd be hard pressed to say any shots with the LS would be worse than the included diffuser. Then again, you can't go wrong with the included Nikon diffusion dome either and creative bouncing or off-camera flash.

In hindsight I wouldn't have paid $57 for the LS, although I did get it with the Pro Kit, which came with a bunch of other stuff. For what it does, I'd pay only about $20, $25 at the extreme, because it probably won't take your images up a full level from the included diffuser.

The Pro kit is a somewhat decent buy because it gives you a usable snoot (also heavy) and color gels, which you can get creative with. You need the LS to hold the gels, so the LS has an additional use there. The Chrome Dome, however, is another useless thing because whatever it does I can do better with off-camera modified flash. It's rare I'll ever need to set up a group shot where all I have is on-camera flash because I take my lights -- at least one with stand -- wherever I go, and I'll take that look over diffused or bounced on-camera any day.

Photographing South Dakota, Introduction and Badlands

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 25 Sep 2012 00:48:14 GMT

Pinnacles Sunset Badlands

A vacation for me isn't like a vacation for everyone else. While most people think of theme parks, beaches, resorts, and lounging, I'm thinking about how I can capture the best images of the nature I love so much. In this series I share how I photographed my recent vacation to South Dakota.

This isn't meant to be a complete guide to SD or how to photograph it, rather a look at my personal experiences, what I learned, and how you can bring home images more exciting than cookie cutter tourist shots. You'll find travel and photo tips not only specific to the locations I visited but that will help you improve your photography overall.

We begin with magic hour -- the hour surrounding sunrise and sunset. It amazes me so many people miss the best parts of the day because they'd rather sleep in. Then they're relegated to the same old dry tourist shots that millions of people have already taken -- harsh, flat daylight, seen from every pullout and photo spot that everyone else has shot from.

Of course I understand it isn't all about photographic desire. Schedules sometimes just don't allow for sunrise and sunset shots, and some people just don't care about taking a quality photograph. But you paid a lot of money to see stuff, so why not really see it?

Try this, and you'll see what I'm talking about. Get up for a sunrise, and stay out for a sunset. You'll usually see more people at sunset than sunrise since they're already up, but if you really want a place to yourself, get up for a sunrise. You'll be rewarded. At some of the most-visited photographic locations at the best times, you'll be surprised how few people are there. And now that you've captured the absolute best lighting of the day, you can spend the rest of the day sleeping, if relaxation is what you want.

You can see this strategy at work in the following image. Taken in the bowl between Yellow Mounds and Pinnacles overlook in the Badlands, the camera faces west to capture the warm sunrise as it paints a patch of rubber rabbitbrush and spills onto the peaks. There's simply no way to recreate this light after the fact. You have to be there. The shots were taken just off of the road, not far from a nearby pullout. Several cars had driven past, but none stopped, and there were no other photographers in the area. We had the place to ourselves for this magic moment. And look what everyone else missed!

Good magic hour shots take a bit of planning. It's ideal to scout your locations ahead of time and imagine where the sun will be. Star Walk, the iPad app, is perfect for keeping track of daily sunrise and sunset times on the road. Ideally, set up about a half hour before the stated rise/set time, and then let the magic happen. Satellite imagery, such as Google Earth, can help you pre-visualize the location and how the sun might hit the landscape. When you're physically there, you don't have to plant yourself in one spot and take 100 images there. Look for various vantage points and angles. There's always more than one.

Badlands Photo Tips:

Polarizers work at sunrise and sunset, but as always they're most effective when used perpendicular to the sun. Use a warming filter or warming polarizer to enhance the sun's rich tones.
Avoid UV filters. While they may seem harmless, I've had better results relying on the ultra-fine and pure quality of my Nikon glass. UV filters can soften images and any potential lens protection you gain is unlikely to be worth the loss in image quality.
If you must shoot mid day, a polarizer is the easiest way to make your images more dramatic by increasing contrast and saturation. Use it at a 90-degree angle to the sun for maximum effect.
Just past Yellow Mounds, before you drive through the Pinnacles, look for good side-lighting angles. These will accentuate the dramatic shapes of the carved Badlands. Light illuminates; shadows define.
Shoot RAW for a richer negative. RAW packs more image data into the file, giving you much more latitude to adjust exposure, contrast, white balance and take advantage of Lightroom's ND filters.
Telephotos and wides are both at home here. A telephoto is essential for wildlife and can pull out features of a broad landscape.
Cedar Pass Lodge provides beautiful cabins (built new for 2012) and good food, enabling you to explore the park. Two to three days is ideal in the Badlands, giving you ample time to plan and shoot sunrises and sunsets.
Don't get trapped in formations at the front of the park. While they're dramatic, trust me, it gets more dramatic the further out you go. Panorama Point, Conata Basin and Pinnacles provide breathtaking viewing opportunities. Yellow Mounds may not be fully illuminated at sunrise, but they're among the most colorful features in the park.
Keep an eye out for wildlife, especially about half way between the lodge and the Pinnacles on the open prairie. Coyote, big horn sheep, prairie dogs and pronghorn like to roam there.
Watch out for rattlesnakes.

Coming Soon: Custer State Park, Needles Highway, Lake Sylvan, Spearfish Canyon

Click here for South Dakota gallery, in progress

PocketWizard MiniTT1 and FlexTT5 Review (Nikon D200, CLS)

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 19 Jun 2012 02:01:12 GMT

Engagement

The PocketWizard MiniTT1 transmitter and FlexTT5 transceivers for Nikon certainly put the "Wizard" in PocketWizard, giving you the power to control unlimited Speedlights from practically any distance with little more than your imagination. So here's a quick hands-on review after a few field tests.

Once you understand TTL and manual flash, it's a good time to experiment with multiple flashes. With built-in infra-red systems, the Nikon Creative Lighting System has some limitations, mainly intense heat/light and physical obstructions, that get in the way of extreme operation. With those systems, you're never quite sure which angle is too extreme, how much ambient light is too much, or whatever else might interfere with the signal. The Mini/Flex system eliminates these barriers because it uses reliable radio signals, which can travel much farther and are less susceptible to line-of-sight problems.

If you want to take your flash photography to the next level, the PocketWizards are a good step. Whether you're a beginner with multiple flash or an expert, PWs can make it easy to control multiple flashes off-camera.

I'm not going to get into the details of how to set the systems up, which is actually fairly easy with the included software, but I will discuss how it works and how you can use it. The PWs are like walkie-talkies for flash. The MiniTT1 acts as a transmitter only and is cheaper. It slides into the camera's hot shoe so the camera thinks a flash is attached.

The FlexTT5 is the transceiver to which you attach a remote Speedlight. The Mini and Flex talk to each other, and the camera thinks each remote flash unit is right on top of the camera. Unlike the Plus and earlier models, the Mini and Flex units are able to relay all of the TTL functions of the flashes for automatic flash exposure just as if you had the flash right on the camera. The difference is the PW system takes over communication, so you use the PW controls to change flash groups, turn flashes on or off, switch between manual and auto, and adjust exposure (using a separate AC3 Zone Controller).

TTL flash is one of the biggest benefits of the Mini/Flex system, and it's the only PW system as of August 2013 to offer TTL control. The TTL ability is the main reason I purchased this system, other than to gain more wireless control over my flashes. I also recommend this for beginners, since manual flash is more tricky and takes a bit more time to execute, and you need to know more about metering and light. With TTL, you can simply let the camera and flash do the work and season to taste.

The PWs work out of the box, but you want to use the software to make sure every unit is using the same channel. Then it's just a matter of turning everything on in the right order and taking a calibration shot at 1/125 in manual mode to get the PWs working together. Then it's off to the races. You just shoot, and the PWs take care of the rest.

So, with just the Mini and Flex's, you can control a single group of unlimited flashes, or multiple groups using one group at a time. But what if you want multiple groups at the same time, or you have three flashes and want each to operate at a different setting? You have two options. You can slide one flash into the Mini's hot shoe and use that flash as a master to control the others, or -- and this is what I recommend -- you buy the AC3 Zone Controller for $79 and use it to control up to three flash groups.

I like the AC3 because it's simple and it sits right on top of the Mini. Each of the control groups on the AC3 has an Off, Manual and Auto switch, plus a dial for adjusting power from +3 to -3 (1/1 to 1/64 in manual). It's just what you need and no more, a no-brainer. If you already have a Speedlight Commander Unit, you can use that, but it works the same as the AC3, so if you don't have one, the AC3 will save you hundreds. It's also worth nothing that you can't use the camera's built-in commander mode.

With Nikon, if you have one flash on camera, that is on the MiniTT1, you must use it as a master flash commander, and you must set it on master mode. This is against the basic instructions, which tell you to leave master mode off. But if you dig into the online manual, you see the only way to get multiple flashes to work when one is on the MiniTT1 is to use that flash in master mode. You can then make adjustments to all other flashes in all zones using the master flash commander functions as normal.

So, to recap, you can practically use the PW's out of the box for fully automated wireless flash control. If you understand how TTL works, this can enable you to produce fantastic lighting very quickly with minimum fuss, and you can do a lot with just one group of flashes in auto mode and no AC3 or master flash. However, using the AC3 means you don't have to walk to each flash to adjust it. You could be 500 feet away, with lights hidden behind trees, and still reliably control up to three groups, each with unlimited lights.

When doing manual flash, you can trigger the PW's with radio units available for both the Sekonic L-358 and L-758 light meters, as well as the radio built into the L-478. However, those are expensive tools. Alternatively, you can simply hit the "Test" button on the Mini to fire the flashes for metering, and use the AC3 to turn flashes on and off to meter individual lights. I usually shoot hand-held, so using the Mini to trigger for metering isn't a problem. But if you're always on a tripod, you'll want a trigger built into your meter.

So, here are some shots I took using PWs so you can see how handy they are.

Cover Image: Two Speedlights rigged to DIY Photography double flash bracket inside Wescott Apollo soft box on Flashpoint light stand, off-camera right. Running Mini TT1 and Flex TT5's with AC3 Zone Controller, set to TTL. Nikon D300 in manual mode.

Above: Two Speedlights rigged to DIY Photography double flash bracket inside Wescott Apollo soft box on Flashpoint light stand, off-camera left. Running Mini TT1 and Flex TT5's with AC3 Zone Controller, set to TTL. Nikon D300 in manual mode.

This is a simple effect I wanted achieve using my new Honl Rosco color gels. I placed a flash with a blue gel on a stand about two feet behind me and triggered it using PWs with an on-camera flash as commander. Nikon D200.

I used two flashes for illumination in the above shot. I placed one flash behind the fountain for a nice pop of backlight on the water, and one flash to the camera left for main light. I triggered both with PWs using the AC3 zone controller on camera. This would have been difficult if not impossible without PWs given the distance and water and concrete blocking the line of sight. Nikon D200.

Update:

As a Nikon user I've experienced rock solid reliability and would recommend PW to any Nikon user. However, Canon users have not experienced the same reliability with PocketWizards, so feel free not to get PWs for Canon (or feel free to switch to Nikon!).

I have also looked at RadioPoppers and while I don't question their reliability, there are some things I really don't like about RPs and reasons I wouldn't buy them, even though they're cheaper. The main reason is that they don't have a zone controller and you have to use an existing flash or commander to change power or modes on different Speedlights, which is stupid. Commanders and Speedlights are expensive and I wouldn't want to have to buy one or dedicate one just to gain wireless control with a radio system that should provide it. Even if I did use a Speedlight for commander functions, no Speedlight is as fast as the AC3 Zone Controller for changing modes and power in individual groups.

Also, the PX transmitter requires AAA batteries. With PW, I can simply use a power cable to draw power from the camera to the transmitter. If you're in a studio and you have a few extra seconds to make changes, RP might be OK, but at a live event where you're always shooting on the fly, I need the speed of the AC3.

How to Freeze Motion With Flash

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Fri, 01 Jun 2012 19:15:00 GMT

Seeing something that moves very fast frozen in a brief moment of time will always be fascinating. It's like peering into a new world, with new, interesting elements at play. But how to do this well has frustrated beginners and advanced shooters alike. One method to freeze ultra-fast motion is with the use of manual flash. It requires some setup, but when you understand the principles at play, you can make some amazing images in your own living room with a beginner photo kit.

Martini With Olive Frozen Above Liquid

Above is one result of this experiment. Notice how the olive pit is facing the camera, like an eye, and the olive is captured just as it touches the water, seemingly floating on top, though if you view the full size image you can see the beginnings of the splash.

Overview

Before getting into all the technical details, it will help to have an overview of what we're trying to achieve. We want a fast-moving subject, like a piece of fruit splashing into a glass of water, to be frozen in time. Achieving the shutter speed necessary to do this is a challenge, especially in low light situations. The solution is to use manual flash. The burst of light from a flash, such as a Speedlight, is ultra-short, between 1/10,000 second and 1/40,000 second for most Speedlights -- upward of 1/100,000 second for studio strobes. When flash is contributing 100 percent of the light, its duration becomes the effective shutter speed. The key is getting flash to be the only light in the exposure.

What You'll Need

Two external Speedlights, or one Speedlight and an SLR capable of manual shooting with built-in flash commander mode.
Snoot (a flash modifier that funnels light into a beam). If you don't have a snoot, in a pinch you could wrap some Cinefoil around the flash head so that it funnels the light through a narrow path, maybe slightly wider than the flash head, and just use a rubber band to hold it on.
Light stand or support recommended.
Something with fast motion to freeze; a common subject is a glass of water with something to drop into it.

Explanation

Ambient light is much lower intensity than flash, so it needs time to burn into the exposure. Indoor ambient light is especially low and usually requires high ISOs, low shutter speeds and wide apertures to record. In other words, you set up the camera to let a lot of light in.

So what would happen if you went the opposite direction and lowered the ISO, sped up the shutter, and cranked down the aperture so it let in much less light? No ambient light would record, and for this experiment that's exactly what you want. You want a black frame to start with because you're going to paint in with flash.

Even when you block ambient light from the exposure by closing down the aperture and lowering the ISO, flash is intense enough to record, so it will be the only light in the exposure, which also means its duration becomes the effective shutter speed. Flash is much more intense than ambient light and therefore needs to burn at a much shorter duration on the sensor. You can see just with your eyes how blinding a flash can be. The high intensity burst of flash is such a short duration that it gets burned onto the sensor and turned off in just a fraction of the time it takes for the shutter to open and close. This means it doesn't matter what the actual shutter speed is; the flash will sneak into the exposure regardless.

To control exposure for the ambient light and flash separately, use the camera in manual mode. Not only does this work for all models, it also makes it easier to control the exposure and show you the effects of exposure control on each light source.

You probably already know aperture controls the opening in the lens and the amount of light coming through it. That means aperture has the power to let in more or less of all light coming through the lens, be it ambient or flash; it's not time dependent. Closing down the aperture decreases the total light reaching the sensor, while opening it will increase total light. This means the aperture controls the amount of flash getting through the lens.

Since the shutter speed doesn't matter for the exposure, you can set it to anything that blocks ambient light. However, the firing of the flash must sync with the shutter, or the closing of the shutter may block some of the flash from the exposure, creating a black bar in the image. To prevent this, set the shutter speed to your camera's sync speed, 1/200 to be safe.

Walkthrough

Set up your stage indoors in average light or even with the lights off. Pick a dark or at least plain background away from light sources. If you're doing off-camera flash, place your light about 45 degrees from the camera (4 o'clock or 8 o'clock position to subject's front), making sure the wireless eye, usually indicated by some sort of symbol, has line of sight to the camera. If you have a snoot, place it on the flash and point the flash directly at the subject.

Set the ISO to the lowest number or least sensitivity. Use a light meter or the camera's meter to get a reading of the ambient light. Set the shutter speed to something no faster than the camera's sync speed. Then, use a high f-number of at least f/10 to block the rest of the ambient light. The camera should be telling you you're way underexposed, which is good. You'll be painting the subject with flash, not ambient light.

Turn all flashes off and take a test shot. With digital, you can tell right away if the image is black. If there's any detail at all, close down the aperture more and test until you get a completely black image. If you can, increase the shutter speed a bit also.

Now turn the flash on. If you're using flash on camera, switch the flash to manual mode and go down to 1/32 power. If you're doing off-camera flash, set the remote flash to remote mode and place another Speedlight or the built-in Speedlight in commander mode, and then adjust power on the remote flash using the commander. If necessary, review the procedure in your camera and flash manuals for using a remote Speedlight with a commander.

Take a test shot without the subject in action. The flash should fire. You can judge the exposure using just the LCD if you want, but a more accurate method is to use a hand-held light meter in flash mode. Simply adjust the exposure by moving the flash power up or down. If you go all the way down and the exposure is still too bright, move the flash further away or close the aperture more.

Compose your image and get the focus correct. Count down and have your assistant drop a strawberry, for example, into the glass of water, and shoot just as it splashes down. It will take several shots to get the timing and splash just right, but all the drops of water will be frozen. Review the exposure and adjust as necessary. The adjustment is unnecessary if you've metered the flash and set the camera to the meter's reading. Shoot until you get exactly what you want.

Above, it seems as if the splash is occurring before the olive touches the water. Perhaps this is actually the olive bouncing briefly after it has hit the water, or it has hit the stir stick, causing a splash before actually touching the water. Or, it might have bounced off of the glass after plunging into the water. This is the intrigue that freezing motion brings out.

Using a snoot is essential because it helps direct the light toward the subject so that it really pops out, and it prevents light from spilling onto the background and other parts of the scene, which would create distractions in the final image. Using a light stand also helps in positioning the flash off camera to the side, so light falls off out of frame instead of onto the background.

Summary

With an understanding of flash and basic equipment, you can produce stunning images almost anywhere. Experiment with different flash settings and positions, multiple lights, using the built-in light for added front lighting, or even colored backgrounds. You can use full auto TTL flash, but I find that it often overexposes the subject and is harder to control precisely. With manual mode, you know that each increment is a full stop of brightness.

This experiment not only gives you some cool images but it will help you learn some of the fundamentals of flash. I think you'll be excited by the results. If you have any questions, please email me.

Chevy Volt, Electric Cars Not Ready Yet

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 31 May 2012 16:43:54 GMT

The Chevy Volt. The commercials make it sound like owning one is really exciting and makes a great case on saving gas. You could be running all over the place not using a drop of fossil fuel. Driving for free, sticking it to big oil, living the dream, saving the environment, you could even save enough on gas to go to Hawaii. As the overly-excited hippie granola girl in one commercial states, "It's totally awesome," right?

It may be awesome, if you're rich and you don't mind that driving without gas will cost you as much as driving with it. You're paying $39,000 plus for those cars, and, assuming 5 percent sales tax, about $1,950 in tax, plus dealer fees that are likely to be $200 to $500. So that's $41,150. Then, there's the financing. If you're lucky, you could get 0%, but let's say put $10,000 down and even get $2,000 for your trade in -- very good start -- and get a nice 4% for five years. Put these numbers into Kelly Blue Book's payment calculator, and you get a total cost of $43,989.50 and a monthly payment of about $533.

Let's think about that. If you can afford that much for a car, spending $300 to $500 a month for gas shouldn't hurt you and you should be able to afford a trip to Hawaii on your own. You'd come out cheaper than the $533 monthly payment for the Volt, and you''ll have more fun with a luxury car. For $533 a month, there are plenty of fine Mercedes, Lexuses and BMWs out there. I'm sure the Volt is a nice car, but it's not luxury.

To be fair, I don't think many people of average income are out there buying Volts at all, much less to save money, but you wouldn't get that from the commercials. Because of it's price, it's essentially a luxury car, even if it isn't truly luxury. But, for the sake of argument, let me further illustrate why you won't be saving money. Call the average SUV $25,000 to be conservative. That's $14,000 to $15,000 you save off the Volt sticker price already, more than enough for a nice trip to Hawaii. If you actually had that cash, you could also cut your financed amount in half on the $25k, getting a steal. Also, $15k is about three years worth of gas if you spend $500 a month, which is a bit high, so at the minimum it'd take you 30 months for the extra $15k investment to pay for itself. During those three years, you'll have paid somewhere around 4% interest on that $15k, which is another $1,800 just on the $15k, or about three months of gas wasted. You'll also have spent a lot on insurance (possibly more than on a non-electric), and repairs and maintenance. With Chevy trying to lure people of average income into these cars, the high payments alone could drive the economy into recession.

The more miles you drive the Volt, the more gas you save and the better off you are, right? If it were a guaranteed money saver, everyone would be doing it. If you drive enough miles to make the Volt seem worthwhile, say 100 a day, you're putting on a lot of wear and tear. I know, since my wife puts on a similar amount. Three years after buying a brand new car, we have 86,000 miles and have fixed a water pump, ball joint, put on new tires, sparks and aligned the front end at least twice. The Volt won't be any more reliable than what we have, and if something does go wrong with the electrical end, the cost to repair could be astronomical, as those parts aren't common. More miles saves you a lot of gas, but not necessarily money.

In short, the total cost to own the Volt will be more than you could ever recover just by not using gas. As one of my friends put it, gas would have to be about $7 per gallon just to break even, and even those prices are several years down the road. That's why these cars are priced so much higher. If they wanted you to save money, they'd make hybrid and standard cars equal. This is the same pricing principal at work with all energy-efficient appliances. They cost more and promise to pay for themselves, but, as is the case for windows, for example, by the time they do pay for themselves, they're ready for replacement and you'll have to spend the money all over again. The Volt is little different. I'm not convinced it's possible within the realm of physics and math for the Volt to actually pay for itself or for you to save enough money to go to Hawaii (give me a break), but even if it were possible in theory, in practice you'll never experience that.

So go buy your Volt, but don't buy it because you're saving money. Buy it because you want to reduce the use of fossil fuels. You're wasting $15k without batting an eye, and that's before you leave the lot. This is truly an exciting time for technology, and it's cool that cars like the Tesla and Volt can get you around in style without gas. But as of 2012 it's only an expensive novelty. There's a lot more car for the money out there.

Horicon Photographer Joel Nisleit on the Benefits of Environmental Portraiture

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Mon, 21 May 2012 21:25:21 GMT

It's been said creating a studio wherever you are is the new trend. I don't know if that's true, but it feels like it, especially with Professional Photographers of America reporting that home studios are doing better than Main St. studios.

I like to think that's because getting out is the same as getting innovative. Although some would argue the studio is the best place to get shots, I say why limit yourself? The best place to get shots is where you have the best quality of photographic elements. With the proper gear and creativity, I can create fantastic results almost anywhere, without the overhead and hassle of a studio, and often more easily than in a studio with heavy gear. Going out for photos is only natural.

Do studios have their benefits? Sure. They offer a controlled, comfortable environment in which to consistently create great shots. But they come with steep overhead and maintenance and are a bit intimidating for you, the client, which is why many are floundering, according to PPA.

Look at the image below. Was it created in a studio with a nice backdrop and big lights? Not even close. I made it in a worn-down barn in Lake Geneva, Wisconsin, in which my brother-in-law works with his father and two other brothers to run their landscaping business. It's filled with tools, machinery, parts and bad lighting. One of the few available spaces to shoot with a clean background was in front of their old wooden door. The texture and color is something photographers would pay a lot of money to recreate in studio, and best of all it's a piece of my subjects' lives. A studio can't provide that.

Engagement on Location

You can bring in props, clothes and backgrounds, but you can't bring the environment your subject grew up in, worked in, created memories in. Those are things you can capture only when you create a studio wherever you are.

Also, look at the way the couple is engaged with each other. They felt at ease because they were in a place they knew and so they just started playing around without me even directing. Rather than me getting upset or trying to get them back on track, I snapped the shutter and ended up with some of the best images of that environment. It looks almost as though the couple is sharing a completely private moment, even though there's a camera and light set up around them. And now they can look back and see their environment and themselves in a new and interesting way.

The studio will always have its place, but let's not think that it's the only place to make great photos. Great images are everywhere. You just have to know how to capture them. Give me a call and let's talk about how great you can look on location.

Use In-camera Enhancements to Boost Image Quality Instantly

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Tue, 24 Apr 2012 15:51:19 GMT

How do you get colors to pop, intricate details to sing, and an image with real punch? Photoshop isn't always the answer. And it's not necessarily a fancy filter or exposure secret that only the pros have. Sometimes, the easiest way is to turn on a setting in your camera and let it do the rest. Digital cameras offer so many tools, they can be a bit overwhelming. But when used appropriately, in-camera enhancements go beyond gimmicks and produce stunning photographs. And there's nothing wrong with letting the camera do the work for you.

Take for example the purple tulip I shot below. It's a fine image by itself, straight from camera. It's sharp, has good saturation and exposure, and in truth it might even be more faithful to what was in front of the lens. There's nothing wrong with it. It was taken on the camera's normal image mode, which is the default for all pictures and usually does a great job.

But look what happens below when I turn on the D200's vivid setting, which is programmed to boost saturation and contrast.

Boom. What you see is also straight from camera, but notice it has a lot more pop to it. The purple is deeper, the water drops stand out more, there's a better sense of light and the white and blue burst and the parts inside the flower really sing. In my mind, there's a lot more going on in the second image. But it didn't take a second in post to bring that out. The Nikon D200 did it all for me in camera. All I had to do was shoot with the vivid setting instead of normal.

Take a look at the images side by side with no enhancements. You can really see the difference. What's on the right I probably would have brought out in Photoshop anyway, but having the camera do it is much easier and saves you a lot of time.

The vivid setting is great for landscapes and flowers, wherever you want to boost saturation and contrast. Just be careful not to overuse it. It's a matter of taste, but when you're selling images it's also a matter of what people like to see. The saturation and contrast can be too much for most images, but I find that it really helps when you want to elevate the natural colors of something like a flower and you don't have a polarizer or you don't want a lot of work in post. The camera will do it for you. Most digital cameras have several optimization settings. When used selectively, these settings can instantly take your images to a higher level.

So there you have it. Instantly boost your color saturation and contrast with your camera's vivid setting. And play around with other settings to find out how they work for you.

Use a Snoot (Powersnoot) to Control and Sculpt Light

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Thu, 19 Apr 2012 18:29:47 GMT

A single spotlight on your subject can be very dramatic, highlighting the model but not affecting the background. But you need a special tool to focus and aim all of that light on your subject. A regular flash just won't do because it spreads the light too much. The answer is a snoot. I just got one this week, and I've been experimenting a lot with it.

The snoot attaches to the flash head and creates a funnel that focuses and aims light in more of a beam than a wide blast. This is much different from regular flash, which although isn't totally diffused spreads the light much more. A snoot creates more of a spotlight, which enables me to create dramatic images in my own living room.

To show the idea, below is an accidental shot I took while the snoot was set up over my subject. There's no composition or focus here. I simply fired the shot to get an ambient exposure but forgot that my master flash was still on, so the whole setup triggered. The point is you can see focusing effect the snoot has on the Speedlight. Instead of spreading the light everywhere, the snoot focuses and aims it. You can even see a faint glow inside the snoot, proving that not much light escapes and most of it is focused where you want it. If the snoot were off, you'd see a much bigger flash and more diffused light. You can get all sorts of snoots, but probably the most convenient is one made to "fit all" flash heads. Notice briefly that the background is black. The camera is set to underexpose it on purpose, and you'll see why.

A flower or bride on a floor bathed in a spotlight is one way to do a dramatic image. What I like doing with the snoot is using the beam of light to highlight and isolate a subject, as you see below. Using manual mode, I can underexpose the background or ambient light so that the sensor doesn't even see it, and the only light it sees is from the flash. That enables me to get the following effect:

As you can see, the background is underexposed as intended, and the Powersnoot illuminates only the subject because it focuses a beam of light rather than spreading it all over. This image is straight from camera. No retouching has been done. It has never seen Photoshop and I haven't even applied sharpening. That's how powerful proper lighting and exposure can be. It's a simple setup that requires only one Speedlight and a snoot accessory. You can even use the built-in flash to command the second light.

If I were to open up the shutter speed enough, some of the ambient light would start to show the background. Alternatively, I could open up the aperture, which would allow not only more flash light to enter but more ambient. Aperture controls flash and ambient at the same time, while shutter speed controls only ambient, up to your camera's max flash sync speed. If I were to take the snoot off and use the regular flash, it would be much more difficult to underexpose the background because some of the light from the flash would illuminate it (I tried). The snoot is essential for getting all of the light to the subject and underexposing the background.

Below is just another example of how using the snoot can help you greatly control light and create dramatic effects on models. There are endless possibilities for sculpting light with multiple Speedlights and accessories. These techniques are not secret. They don't belong to Gary Fong, who invented the Powersnoot (one of many snoots on the market), nor do they belong to me or any other professional photographer. They're fundamental principles of photography that you can use to improve your images. Thanks for visiting.

Get $25 off any Wedding or Engagement With This Code!

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 11 Apr 2012 21:15:00 GMT

Present the following code and receive $25 any wedding or engagement booked for 2012: JNPZEN. You can also opt to use it for an extra $25 print credit. The code proves that you saw the coupon on my Zenfolio website. That's it!

Joel Nisleit Launches Horicon Photography Business

(Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher) — Wed, 04 Apr 2012 17:17:05 GMT

Welcome everyone. Joel Nisleit Photography is just getting started on Zenfolio, but I'm not just getting started in photography! I've been photographing most of my life and I welcome you to browse a few photos from my galleries and contact me for any wedding, portrait or freelance photo needs.

Joel Nisleit Photography, Horicon Wisconsin Photographer and Teacher: Blog

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Some press-style books use a cheap printing process that leaves you see the dots in the image if you look closely enough. You want a true photographic print album. Don’t know how to tell? Don’t worry, all my albums are true photographic albums.

I guess The Knot's advice doesn't save you much anyway. It'll just defer the work and dollars to third-party machines and strangers who had no vested interest in your wedding to begin with and weren’t there to know your story.

I retouch every page of my clients' albums, including blinks, head swaps, distraction removal, skin smoothing, stray hair, temporary blemishes -- all that for sometimes 70+ images in one album at no extra charge, if you order from me.

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