Pickleball…in the studio…with a wide 14-24mm f/2.8 lens – what could happen! The NIKKOR Z 14-24mm f/2.8 S Not a lens you’d normally think of for portraits, but it’s pretty cool. How do I take wide-angle shots of a person without getting too deep into the corners and lines? How do I treat the human form kindly in this vast world I will be filming?
My mission was to shoot something different using a 14-24 lens – not landscapes or landscapes. Is it reasonable to use this lens for landscape photography?
Well, this time – it will be portraits. We assembled great talent on set and he started hitting that little plastic dodgeball everywhere. Andrew Ash is our multi-talented player/flyer who charges purposefully right in front of the camera with unstoppable energy. And technology! In all that vastness, Nikon Z 9 AF with eye detection works perfectly. Eye-catching in almost every frame.
There are some questions about turning on the lights Instagram. That is all professional photos, and not complicated. Two sources, top and bottom, with soft fabric mesh Adjust the light flow from two Soft box 1×4. light is one Advantages 11, which is a light monster. All the flash came from the left of the camera, trying to angle the camera so there wasn’t a lot of light hitting the giant glass space in the window. We were largely successful at that, and the reflections that existed were expertly managed in post through the editing capabilities of MD Welch.
(Side note: Growing up in the business and learning lighting, before Photoshop, avoiding collisions with glass was an important skill to have. Note one photo, the formidable Harry Benson. Harry was sly and ferocious on assignment, with a keen sense of human nature and how to put the subject in every position, compromise, etc. He would get behind the camera and rush off, in. an attempt to find a shot that has some teeth and doesn’t pay attention to the glaring umbrella in the far window. The result is that many lightning strikes the window, to the point where if you make a mistake in projection this fake invention, it would be called “pulling a Benson.”)
As always, none other than our studio manager and executive producer praised the production’s perfection. Lynn DelMastro! Grateful to our amazing glamor team Samantha Brown And Cassie Bledsoeand a super photo team – Andrew Tomasino And Charles Sammann.
Not only was it a fun assignment, it also forced me to think about this lens, which I’ve carried religiously in my bag for years, in a different way. It changed some of the patterns in my head, the kind that all photographers fall into from time to time. It shifted the compass a little, it made me think. That’s the beauty of this kind of work. You keep learning.
More please…..
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