Ryan Ellis Digital Photography Instructor

By:  Ryan Ellis Saturday,  September 24th,  2016

●  All Detroit photos taken with a (circa 1995) Nikkor 50mm f/1.4 AF lens (this is the lens from which dreams are made) bought for $150 at “The Camera Connection” in Redford, MI (http://www.cameraconnectiononline.com). Compare to $300 for a new model of the same Nikkor AF lens.
ttp://westborncamera.com). ●  The two camera lens photos (the lens photographed is the aforementioned Nikkor 50 f/1.4 AF) taken with the (circa 1977) Ai Nikon 50mm f/1.4 lens (this is a fantastic lens despite the fact that it only uses manual focus) bought for the incredibly-low price of $10 from Craigslist. That this 1977 film-era lens fits on my 2012 Nikon digital-SLR camera body is the biggest reason why I encourage camera buyers to buy Nikon over Canon. Nikon’s lens compatibility presently goes back to 1959. Canon goes to 1987 or even sooner. Older gear is less-expensive, so choose Nikon.

Bottom Line:

If you only remember three things  — ●  Eastern Art aesthetics say that the background (environmental) aspects are where the interesting features are found. ●  Some photos look better with an in-focus background. ●  A narrow aperture setting puts the background in-focus.

⋰B⋰U⋰Z⋰Z⋰W⋰O⋰R⋰D⋰S⋰ Concepts talked about in this article  — ●  Aperture — The retina of the lens. The wider the aperture, the more light is let in (and the shallower the focus is). The narrower the aperture, the less light is let in (and the deeper the focus is [until infinity]). ●  In-focus — When something is shown in clarity in the camera. ●  Shallow Focus — When only things nearby are in-focus. ●  Shutter Speed — The measure of time during which the shutter remains open; the longer the shutter is open, the more light is let in. ●  ISO — The minimum black point setting of the exposure. A lower ISO setting allows more dynamic detail and darker exposure. A higher ISO setting loses detail in exchange for increased brightness in the exposure. ●  Story — The tale a photograph tells. Always attempt to tell a story in photography. Just about anything can be interesting if framed the right way. ●  Slow Aperture — A narrow aperture setting. ●  Fast Aperture — A wide aperture setting. ✦  If you ever have any questions, feel free to email me. I am here for you. Email:  [email protected]

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Five photos taken with or without the background in-focus  

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1.  Sunrise Behind Greektown Casino

2.  Various Peppers For Sale at the Market

3.  Policewoman Hugging a Flautist (Only in Detroit)

4.  Lone Okra Flower

5.  Pedicab Drivers In Search Of Street Art

                  .—.                  | [X] |     _.==.__.“”“”“.______n__  d __ _____.-’ ’-.  ________b   | [__]       /.”“”“.\ _  D800 |   |            // /” “\  \_)           |   |             \ \__/  //             |   | Nikon     `.__.’/               |    \====== `-..-’ =======/       `—————————’  

©2016 Ryan Ellis Photo.  All Rights Reserved.

By:  Ryan Ellis Saturday,  September 24th,  2016

●  All Detroit photos taken with a (circa 1995) Nikkor 50mm f/1.4 AF lens (this is the lens from which dreams are made) bought for $150 at “The Camera Connection” in Redford, MI (http://www.cameraconnectiononline.com). Compare to $300 for a new model of the same Nikkor AF lens.
ttp://westborncamera.com). ●  The two camera lens photos (the lens photographed is the aforementioned Nikkor 50 f/1.4 AF) taken with the (circa 1977) Ai Nikon 50mm f/1.4 lens (this is a fantastic lens despite the fact that it only uses manual focus) bought for the incredibly-low price of $10 from Craigslist. That this 1977 film-era lens fits on my 2012 Nikon digital-SLR camera body is the biggest reason why I encourage camera buyers to buy Nikon over Canon. Nikon’s lens compatibility presently goes back to 1959. Canon goes to 1987 or even sooner. Older gear is less-expensive, so choose Nikon.

Bottom Line:

If you only remember three things  — ●  Western Art aesthetics say that the foreground aspects are where the interesting features are found. ●  Some photos look better with an in-focus foreground and a blurry background. ●  A wide aperture setting puts the foreground in focus and can blur the background.

⋰B⋰U⋰Z⋰Z⋰W⋰O⋰R⋰D⋰S⋰ Concepts talked about in this article  — ●  Aperture — The retina of the lens. The wider the aperture, the more light is let in (and the shallower the focus is). The narrower the aperture, the less light is let in (and the deeper the focus is [until infinity]). ●  In-focus — When something is shown in clarity in the camera. ●  Shallow Focus — When only things nearby are in-focus. ●  Shutter Speed — The measure of time during which the shutter remains open; the longer the shutter is open, the more light is let in. ●  ISO — The minimum black point setting of the exposure. A lower ISO setting allows more dynamic detail and darker exposure. A higher ISO setting loses detail in exchange for increased brightness in the exposure. ●  Story — The tale a photograph tells. Always attempt to tell a story in photography. Just about anything can be interesting if framed the right way. ●  Slow Aperture — A narrow aperture setting.  ●  Fast Aperture — A wide aperture setting. ✦  If you ever have any questions, feel free to email me. I am here for you. Email:  [email protected]

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Five photos taken with or without a blurry background. 

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1.  Darrell Looks Like He Is Having A “Good Time”

2.  Budding Flower Arranger

3. Homeless Man, Joe, With A $2 Bill

4.  Street Performer At The Start of His Set

5.  Seagull Facing The Sunrise On The Detroit River

                  .—.                  | [X] |     _.==.__.“”“”“.______n__  d __ _____.-’ ’-.  ________b   | [__]       /.”“”“.\ _  D800 |   |            // /” “\  \_)           |   |             \ \__/  //             |   | Nikon     `.__.’/               |    \====== `-..-’ =======/       `—————————’  

©2016 Ryan Ellis Photo.  All Rights Reserved.

By:  Ryan Ellis Saturday,  September 3rd,  2016

Behind the scenes photo on-location in Detroit at twilight. This was the first shot of an ambitious, twelve-hour photoshoot that spanned both the Market and Downtown.  Eastern Market, Detroit, MI.  September 2016. 
Photo credit:  Ryan Ellis   —  Model:  Jacelyn

Bottom Line:

If you only remember three things  — ●  Soft light is light that has been diffused by an object before it lands on its target. ●  Soft light flatters the face—especially on women.  ●  Hard light can work for men sometimes, but soft light works on anyone, so it is a safe choice for portraiture.

⋰B⋰U⋰Z⋰Z⋰W⋰O⋰R⋰D⋰S⋰ Concepts talked about in this article  — ●  Soft Light — Light that has been diffused by an object before it lands on its target. ●  Hard Light — Undiffused light. This light can cause spectral highlights. ●  Spectral Highlights — Points of pure-white light values on an object that carry no detail and distract the viewer of the image from the intended subject.  ●  Blown-out Highlights — Same as spectral highlights. ●  Cross-Lighting — Lighting a face partly in light and partly in shadow. ●  Chiaroscuro — Same as cross-lighting. ✦  If you ever have any questions, feel free to email me. I am here for you. Email:  [email protected]

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Photos taken with or without a soft fill light  

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Working hard or hardly working? Portrait of myself at “The Belt,” Downtown Detroit’s famous street art alley (which features a rotating art display with works by both locals and internationals) at the Z Parking garage.  Downtown, Detroit, MI.  September 2016. 
Photo credit:  Tori McKendrick   —  Model:  Ryan 
☞   Check out Tori  —  https://www.facebook.com/torteephotography 

Portraits in both cross-lighting and more even lighting. Next door to this location is the Red Bull House of Art, which puts up artists for a few months at a time in an old meat-packing building, letting them take their time creating sets of art that are displayed and sold. Entrance is free, and cans of Red Bull are available in fridges to try while you are there. It is a great source of inspiration (and free caffeine!). They next open for visitors on November 11th, 2016.  Eastern Market, Detroit, MI.  August 2016. 
Photo credit:  Ryan Ellis   —  Model:  Makayla

Just after sunrise on a dim, cloudy morning that turned into a bright, clear afternoon and then a dark, rainy evening. That is Michigan weather for you! This particular wall is my favorite art piece in the entire market. I will explain more details about the following on another day:  Color photography was “made” for showing off all things red.  Eastern Market, Detroit, MI.  August 2016. 
Photo credit:  Ryan Ellis   —  Model:  Makayla

The Gear  —

●  All behind the scenes photos taken with a Tokina 16-28mm f/2.8 AF FX lens bought for $400 at Westborn Camera in Dearborn, MI (http://westborncamera.com). Compare at $850 for the lens new. ●  All other photos taken with a Nikkor 50mm f/1.4 AF lens (this is the lens from which dreams are made) bought for $150 at “The Camera Connection” in Redford, MI (http://www.cameraconnectiononline.com). Compare to $300 for a new model of the same Nikkor AF lens.
ttp://westborncamera.com). ●  The flash unit used in this shot (and most other shots in this article) is a Nikon SB800 Speed Light bought for a ridiculously-cheap $10 off of Craigslist (https://detroit.craigslist.org). Expect to pay at least $200 for this on the used market. This is a modern and sophisticated flash unit that has all the bells and whistles you could ever want to use.   ●  The diffusion screen used in this image (and nearly all of the other photos in this article) is part of a 42″ Promaster SystemPro Reflectadisc - 5 in 1 Reflector Kit bought new for $60 at ProCam in Livonia, MI (http://procam.com). Steer clear of ProCam stores unless no one else has what you are looking for. They consistently mark up their prices tens of dollars higher than what things are worth (at least in their used department). They pursue profits over value with no noticeable increase in quality to justify their price points. ●  The stand used in this photo (and most of the others) is an Ultimate Support PRO-T-T Tripod Mic Stand with Telescoping Boom bought new for $90 at Guitar Center in Roseville, MI (http://www.guitarcenter.com). Traditionally, one would use a special stand from a camera store to hold up the diffusion screen, but since I already had this portable boom mic stand, I decided it would be best to use what I had on hand. Photography is a creative medium. Creativity with gear is always encouraged—especially if you can save some cash along the way! I secured the diffusion screen to the boom stand with Gator Clips. On a windier day, Sand Bags would be good to have on the boom stand to weigh it down, so the screen is less-likely to blow away.

Akimbo chica. Shot in The Belt at Z Parking.  Downtown, Detroit, MI.  September 2016. 
Photo credit:  Ryan Ellis   —  Model:  Jacelyn

Cheery lady. Shot in the Dequindre Cut. In a couple of weeks, I will be biking 30 miles through Detroit (and through this path) in the annual “Tour De Troit” bike ride event.  Eastern Market, Detroit, MI.  September 2016. 
Photo credit:  Ryan Ellis   —  Model:  Jacelyn

She is a very happy model.  Eastern Market, Detroit, MI.  August 2016. 
Photo credit:  Ryan Ellis   —  Model:  Makayla

                   .—.                   | [X] |      _.==.__.“”“”“.______n__   d __ _____.-’ ’-.  ________b    | [__]       /.”“”“.\ _  D800 |    |            // /” “\  \_)           |    |             \ \__/  //             |    | Nikon     `.__.’/               |     \====== `-..-’ =======/        `—————————’  

©2016 Ryan Ellis Photo.  All Rights Reserved.

By:  Ryan Ellis Friday, August 19th, 2016

Fred Dunkeld, master-photographer, standing next to sixty years of photographic history—his history.  Upper Peninsula,  Newberry, MI.  July 2016. Photo credit:  Ryan Ellis This and all other photos in this post were taken with a Nikkor 50mm f/1.4 AF lens (this is the lens from which dreams are made) bought for $150 at “The Camera Connection” in Redford, MI (http://www.cameraconnectiononline.com). Compare to $300 for a new model of the same Nikkor AF lens.

Bottom Line:

If you only remember two things —

Good photography is the result of natural talent.

Good photography is the result of hard work.

✦  If you ever have any questions, feel free to email me. I am here for you. Email:  [email protected]

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Today (August 19th, 2016) is World Photo Day. It has been 177 years since the invention of photography. A month ago, I met a man who has been a photographer for almost a third of that history.  

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Some backstory — 

I went camping with my extended family to the Upper Peninsula for the first time in about ten years last month. 

One day, the ladies were going to drive thirty minutes south into town (Newberry, MI) to shop. I came along to get some gifts and take photos. 

I finished shopping quickly, and as the women I was with tarried yet longer in the boutiques, I decided to reclaim some of my manhood by walking to the local hardware store to search for a good fishing lure to catch pike on Muskallonge Lake, where we were camping. 

Once inside the store, I found it to be a blast from the past in the best of ways.

  I asked the store owner, MJ, if he had any recommendations for getting pike, and, after purchasing my goods, I channeled my Detroit-street-photography vibes and asked for and was granted a portrait of the quiet man. I explained that I was from downstate and taught photography. I thought his portrait would be neat to show the kids back home. This interested MJ, and he told me that three doors down, there was a realty office run by his dear friend, Fred, who was also a photographer. MJ said Fred’s office was bedecked with photos taken over many years in the U.P. Fred always left his door open, whether or not he was there (that is the mark of a small town), and I laughed at the thought of trespassing to see art. 

I walked into the realty office, and the first thing that I noticed was that all of the fluorescent lights were off, though the light from the glass front door amply lit the medium-sized room. This man appreciated natural light. The second thing I noticed was a “BURRRRRR” sound like an old plane was flying in the room. I walked around a tall desk to where the noise was coming from and found a man in his eighties watching a video of an airshow on his desktop pc. I told him I was a photographer sent by MJ to meet a fellow photographer, named Fred. Fred shook my hand and told me he was also a pilot and was watching a recent airshow that he had missed. This man was a photographer, realtor, and pilot!

Fred graciously left his desk and walked me to the back of his office, where there was a large display case full of antique-looking cameras and camera gear. He said those were all of the cameras he used throughout his sixty-year-(and counting)-career in photography. I told him that if it takes ten years to master something, he must have mastered photography six times over!

Fred was very humble and even apologetic. He had large prints hung on his walls and stacked and piled all around his office. They were much-faded (he pointed out that the film prints faded less than the digital ones), but I assured him I could see his amazing compositions in each print. I have learned a threefold lesson that has been key to my time as a photographer: Come Early; Stay Late; Come Again (it is all about punctuality and patience and persistence to get the shot). It was that threefold approach, after an amazing eye for interesting details that made Fred so great. He was both self-made and naturally-gifted.

I wanted to avoid all talk of gear and camera settings. Those details can be found anywhere. This man had something you will never find in a tutorial online or in a book about photography—his personal story. I told him that no picture I ever took could do justice to what I saw with my own eyes on any given day. Fred agreed. He said it was, first, the smell of the place as well as the temperature and the winds and the hike up to the spot, where he would plant his tripod and mount his trusty 135mm lens (among others), that gave body to the image he was there to capture. He said that his photos had much better stories behind them than what they communicated on their own. The photographer is banished to capture a tiny, two-dimensional sliver of a vast, three-dimensional world, and as powerful as any photo has ever been, there will always be more layers to the story of that moment. That is the struggle; every picture is an effort to tell the story of a moment in time. 

I asked Fred about his life, and he never ceased to amaze me more and more as his account went from decade to decade of the choices he made. Most notably, in 1971, he left a lucrative job as a Chrysler engineer in Pontiac, taking only a tent, some beans and rice, and his camera gear, and he started over in the Upper Peninsula, six hours away from his closest family member. He has always had a deep love for photography, and the beauties of his adopted hometown were irresistible to him.

I could have easily listened to Fred’s stories for hours, and I would have, had I been given such an opportunity, but I had to leave when my family finished their shopping excursion. Before we parted, I asked Fred if I could take a portrait of him. He walked over and stood next to the display case that housed sixty-years of gear from his very uncommon career. I thought it was quite appropriate for that man to be there. I wanted to stay in touch, so I got a flier with his business address on it. I plan on sending him prints of his and MJ’s portraits, and I also plan on asking him, in a letter, the one question that slipped my mind when we talked:  “What is the most important thing you have learned in your over sixty-years in photography?”

Hopefully, I will make a short update to this story. I am sure his answer will have much wisdom behind it.

My relatively short time with master-photographer, Fred Dunkeld, taught me something important that I can do right now:  Work harder.  His photos were all masterpieces that displayed his natural talent. He stressed to me that many of the best shots he ever took were also hard-fought affairs. 

A one-hundred-and-fifty-foot wave crashing against Pictured Rocks during a Spring storm; the first frost of a nasty Winter on the shores of Lake Superior; Tahquamenon Falls bathed in perfect morning light during the Summer; the changing of the colors painted across a forest floor on a tranquil Fall day. These image descriptions probably flood the mind’s eye with vastly different scenes. These images were made by a talented man dedicated to his craft, and I hope to have half his talent and drive in my next sixty years!

Fred Dunkeld  —

MJ  —

                    .—.                    | [X] |       _.==.__.“”“”“.______n__    d __ _____.-’ ’-.  ________b     | [__]       /.”“”“.\ _  D800 |     |            // /” “\  \_)           |     |             \ \__/  //             |     | Nikon     `.__.’/               |      \====== `-..-’ =======/         `—————————’  

©2016 Ryan Ellis Photo.  All Rights Reserved.

By:  Ryan Ellis Sunday, August 7th, 2016

Four retro film bodies outfitted with four 50mm lenses spanning the last forty years. These old beauties are SLR’s. The viewfinder in an SLR shares a parallax-free vantage of the composition with the lens. That is why the light from the viewfinders is whimsicaly-illuminating the centers of these lenses. Digital SLR’s are the modern version of these pictured camera bodies, and only digital cameras are to be used in the Digital Photography class. Some film-era lenses work on certain modern cameras. Nikon has backwards compatibility until 1959. Canon only goes back until 1987 or even later.   Harrison Park.  Harrison Township, MI.  August 2016. Photo credit:  Ryan Ellis This and other shots of the lenses themselves were all taken with a Tokina 16-28mm f/2.8 AF lens bought for $400 at Westborn Camera in Dearborn, MI (http://westborncamera.com). Compare at $850 for the lens new. 

Bottom Line:

If you only remember three things —

Good photographers make photos good, not “good” gear.

Used gear is wiser to buy than new gear.

Select a camera system that fits older lenses.

✦  If you ever have any questions, feel free to email me. I am here for you. Email:  [email protected]

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Four lenses. Eight photos each. One day in Detroit.

Lenses —

1.  1972  Non-Ai Nikon  50mm  f/1.4  ($10) 2.  1977  Ai Nikon  50mm  f/1.4  ($10) 3.  1981  Ai-S Nikon  50mm  f/1.8  ($50) 4.  1995  AF Nikon  50mm  f/1.4   ($150)

Photos —

A.  Local Food  B.  Detroit Firetruck C.  Street Performers D.  Portrait E.  Skyscraper F.  Renaissance Center  G.  Guardian Building  H.  Object of Interest

Compare and contrast the photo groups. You will find that a good lens is a good lens, regardless of its age (just about). 

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I had to post this shot, even though it fell outside my self-imposed shots list. I had a laugh with the security at the Market in Detroit. Taken with the 1972 non-Ai Nikon 50mm f/1.4 lens.  I shoot in Detroit every week, and I am slowly getting to know some folks around town.

1.  1972 Non-Ai Nikon 50mm f/1.4 Lens 

A.  Local Food

B.  Detroit Firetruck

C.  Street Performers

D.  Portrait

E.  Skyscraper

F.  Renaissance Center

G.  Guardian Building

H.  Object of Interest

2.  1977 Ai Nikon 50mm f/1.4 Lens

A.  Local Food

B.  Detroit Firetruck

C.  Street Performers

D.  Portrait

E.  Skyscraper

F.  Renaissance Center

G.  Guardian Building

H.  Object of Interest

3.  1981 Ai-S Nikon 50mm f/1.8 Lens

A.  Local Food

B.  Detroit Firetruck

C.  Street Performers

D.  Portrait

E.  Skyscrapers

F.  Renaissance Center

G.  Guardian Building 

H.  Object of Interest

4.  1995 AF Nikon 50mm f/1.4 Lens

A.  Local Food 

B.  Detroit Firetruck

C.  Street Performers

D.  Portrait

E.  Skyscraper

F.  Renaissance Center

G.  Guardian Building

H.  Object of Interest

                     .—.                     | [X] |        _.==.__.“”“”“.______n__     d __ _____.-’ ’-.  ________b      | [__]       /.”“”“.\ _  D800 |      |            // /” “\  \_)           |      |             \ \__/  //             |      | Nikon     `.__.’/               |       \====== `-..-’ =======/          `—————————’   

©2016 Ryan Ellis Photo.  All Rights Reserved.

By:  Ryan Ellis Sunday, July 31st, 2016

NOTE:  THIS PIECE OF EQUIPMENT IS NOT REQUIRED FOR MY DIGITAL PHOTOGRAPHY CLASS.

Sunset selfie holding the Pedco UltraPod II Lightweight Camera Tripod at Harrison Park after bike ride (enjoying the last day of July).  Harrison Twp., MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Nikkor 50mm f/1.4 AF lens (this is the lens from which dreams are made) bought for $150 at “The Camera Connection” in Redford, MI (http://www.cameraconnectiononline.com). Compare to $300 for a new model of the same Nikkor AF lens.

Bottom Line:

The “Pedco UltraPod II Lightweight Camera Tripod” is a portable solution to many photographic situations (it stands only six-inches tall and folds to seven-inches for storage). It is made in the USA and is built to support the weight of a DSLR (up to six pounds). It costs twenty-dollars anywhere, and can be found in person or online.

Micro Center 32800 Concord Dr, Madison Heights, MI 48071 Phone:  1-(248)-291-8400 Hours:  Mon - Sat 10 to 9, Sun 11 to 6 http://www.microcenter.com/product/449157/UltraPod_II_Lightweight_Camera_Tripod

B&H Photo Phone:  1-(877)-901-8161 http://www.bhphotovideo.com/c/product/239963-REG/Ultrapod_PD02010_2_Black.html#!

✦  If you ever have any questions, feel free to email me. I am here for you. Email:  [email protected]

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Here is a list of five uses for this twenty-dollar wonder —

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Use #1.  Be In Your Own Family Photo (with the help of a truck or SUV) (Group Shots)

My family after a beautiful service near the only safe harbor on Lake Superior.  Grand Marais, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Nikkor 50mm f/1.4 AF lens, using the UltraPod II atop my uncle’s truck’s hood. This shot was a revelation; the tripod connected to the camera in about ten-seconds, and it took about another twenty-seconds to set up the camera on the hood, frame and focus the shot, and set the timer right before I ran into the frame to be in the shot. A regular tripod would have taken longer to assemble, and it would have had an intimidation factor on my family. This tripod looks like a toy but is built like a tank. 

What is the family vacation photographer’s curse? Never being in any of the pictures. No more! Just pop this pocket-sized tripod on top of a car (that you own, of course), and set the shooting mode to timer. Run into the shot, wait for the shutter go off, and boom, you can prove photographically to your friends that you were there too!

Use #2.  Self-Portraits Shot At The Speed Of Timer (Serious Selfies)

Struggling to keep my eyes open against a bright Lake Superior sunrise.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016 Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens using the UltraPod II on the rocky sand.

Nothing screams of this generation more than taking a self-portrait with your arm conspicuously in the shot, because you were holding up your camera at yourself. Do the “selfie” one better and make it more “serious” by setting the camera on a tripod, like the UltraPod II, and use the timer mode on your camera to take a photo with *all* of you in it. The best part about this technique is that you can place the tripod some distance from yourself and take a compelling photo showing the environment you find yourself in. That shot will tell a much richer story about you as an individual than an arm’s-length close-up of your head and shoulders with little behind you to add any interest. 

Use #3.  Crisp Landscapes With Enough Depth Of Detail To Rival NatGeo (Detailed Shots)

Massive piece of drift wood on the shore of Lake Superior (at that size, it should be called a “drift tree”).  Muskallonge State Park, Luce County, MI.  July 2016. Note all the fine detail in the sand and wood in this shot. Using a tripod enables the elimination (or at least minimization in strong winds) of camera shake caused by hand-holding the camera. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens bought for $400 at Westborn Camera in Dearborn, MI (http://westborncamera.com). Compare at $850 for the lens new. The UltraPod II was sitting in the sand, stabilizing the lens for the series of shots that were taken and blended to create this final image. 

Tripods were invented for two reasons—hold up a heavy camera and keep it steady (a camera is a motion-sensitive piece of equipment after all). While today’s cameras do far better in a fast-paced environment than they did in still-environments one-hundred-and-fifty years ago when they first came into the fore, tripods are still crucial tools for the modern photographer to ensure the most detail in many shots, thanks to a more-stable resting place for the camera body’s image sensor to work from. 

Use #4.  Worm’s Eye View (Low Perspective)

A man spies some wares he might wear.  Downtown Detroit, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Nikkor 50mm f/1.4 AF lens, using the UltraPod II resting on the ground in the median between two one-way streets. The heights of the store and the man walking by it are both elevated, via the vantage point closer to the ground. 

The lower you are, the higher everything else is. That is pretty simple, and yet it makes all the difference in many photos. I might add that it looks less-weird to use a camera on a short tripod to capture the perspective of height than it does to lay on the ground to do the same! Then again, this is Detroit we are talking about… It might not stand out so much after all. 

Use #5.  Rise Above The Mess (Clean[er] Equipment)

Bubbling, fresh Lake Superior water washing over the rocks on shore at sunrise.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II. The tripod legs were right in the water, but the camera was nice and dry. The UltraPod II was made for capturing a brilliant close-up like this. A taller tripod just would not do in this situation.

It is a rule of this world that all things will break down eventually. My camera body’s shutter is good for 100,000 actuations before it is supposed to break. Sand and water can easily cut down the life of even a weather-sealed professional camera, like my Nikon D800, which was bought for the ridiculously-expensive price of (redacted) at Westborn Camera in Dearborn, MI (http://westborncamera.com). Compare at double the price for same the camera body new. Using the short tripod helps keep the camera and lens close to the action without the camera receiving too much of the destruction that can come with such proximity.

That said, I did get sand in two of my lenses (from running up and down so many sand dunes with my camera always in hand), but at least I got the shots!

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Product Images:

My heaviest lens (weighs two-pounds) is supported by the UltraPod II, though, admittedly, this is accomplished by shifting the weight perpendicular to the vertical axis of the ball head mount. My lighter lenses do not have any trouble staying upright in any position on this tripod. This tripod supports up to six-pounds (some other small tripods are not designed to hold up a DSLR, so bear in mind the load capacity when shopping).  Harrison Twp., MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Nikkor 50mm f/1.4 AF lens.

This tripod is six-inches tall when folded out into its tripod-shape. It folds together into a stick-shape that is seven-inches tall. This can be left on your camera as you walk around, or you can strap it to a bag, or you can just keep it in your pocket, though it will stick out a bit.  Harrison Twp., MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Nikkor 50mm f/1.4 AF lens.

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More Images Taken Using The UltraPod II:

1A.  GROUP SHOT

Showing our treasures from a *mostly* horsefly-free (miraculously) wild blueberry-picking outing.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Nikkor 50mm f/1.4 AF lens, using the UltraPod II perched atop my uncle’s SUV’s hood.

1B.  GROUP SHOT

Poorly-framed group shot in front of a driftwood teepee. All of my beach landscapes and selfies were done using an ultrawide lens to reveal the expansive park around the subject. This shot was done using a more focally-compressed lens (50mm). This photo illustrates the importance of re-checking the framing of a shot before you take it!  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Nikkor 50mm f/1.4 AF lens, using the UltraPod II planted into the sand. Patience is key in photographing people. Even if it seems long, you have to take your time until the shot is “right.” The difference between amateurs and professionals in many areas in life is that the professionals either “take their time” quicker or they make the time seem to go by quicker to those watching them. 

2A.  SERIOUS SEFLIE

Selfie standing next to one of many driftwood teepees to be found along the shores of Lake Superior. Folks evidently light illegal campfires in these. It is legal (and [surprisingly] free), though, to camp on the shore, provided you fill and adorn your properly-distanced campsite with a DNR form.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II in the soft sand. You can see the shadow of the tripod and camera that is on it in the bottom of the photo. 

2B.  SERIOUS SELFIE

Selfie in front of a white birch tree. The colors and crispness were owed to the in-camera exposure setting as well as the steady tripod used to make this image.  Muskellunge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II in the lumpy, wind-swept sand that creatures, from the endangered sand piper to the mighty black bear, share day and night. 

3A.  DETAILED SHOT

Some of the colorful stones along the Pictured Rocks National Lakeshore of Lake Superior. Taking home any of these beautiful rocks is prohibited by federal law.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II in the midst of the rocks and incoming waves.

3B.  DETAILED SHOT

The rocks and the clouds and the waves to the west during a sunrise.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II in the rock-bespeckled sand. 

4A.  LOW PERSPECTIVE

Lake Superior sunrise between tall blades of grass on the beach.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II. Objects in a landscape give a photo perspective. The low vantage point of the camera, afforded to it by the UltraPod II adds drama to the perspective by making the grass tower over even the sun in this image.

4B.  LOW PERSPECTIVE

The sign to the park where I camped and explored.  Muskallonge Lake State Park.  Muskallonge, MI .  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II. The tripod allowed a nice angle of view on the short sign to the park. 

5A.  CLEAN(ER) EQUIPMENT

A handsome driftwood log near Lake Superior at sunrise.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II. Using the tripod kept me from being tempted to stick my expensive camera in the sand. Instead, in this shot, the tripod provided crucial distance to keep my camera clean. 

5B.  CLEAN(ER) EQUIPMENT

Lake Superior just after sunset.  Muskallonge Lake State Park.  Muskallonge, MI.  July 2016. Photo credit:  Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens, using the UltraPod II. The tripod was right in the action here. The waves had receded when this shot was taken. 

                      .—.                      | [X] |         _.==.__.“”“”“.______n__      d __ _____.-’ ’-.  ________b       | [__]       /.”“”“.\ _  D800 |       |            // /” “\  \_)           |       |             \ \__/  //             |       | Nikon     `.__.’/               |         \====== `-..-’ =======/           `—————————’   

©2016 Ryan Ellis Photo.  All Rights Reserved.

By: Ryan Ellis Wednesday, June 22nd, 2016

Selfie at Harrison Park After Bike Ride (enjoying the first day of SUMMER). Harrison Twp., MI. June 2016. Photo credit: Ryan Ellis Taken with a vintage Nikkor 105mm f/2.5 MF lens bought for $50 at a garage sale. Compare to $250 for a new model of the same Nikkor MF lens.

Bottom Line:

Get a DSLR camera with the ability to interchange lenses; must have at least one lens with camera body. Any newer DSLR will have manual function capabilities. Listed below are some bodies, lenses, and kits (body/lens sets) that will not break the bank and will work beautifully in the class.

I am here to help you. They would not pay me otherwise! Hahaha. Feel free to email me any questions you might have. 

ryanellisphoto[at]gmail[dot]com

Even better deals on used gear can be found on Craigslist, and—of course—feel free to buy new. B&H Photo, being the world’s biggest camera store, sets the standard used-value for items. As a rule of thumb, never pay more for any camera gear than what it costs at B&H Photo.

That is about it. For those of you with more time, feel free to read the following suggestions for the class 

Rule #1: Do Not Break The Bank!

Unless your little Johnny or Suzie is definitely going to become a professional photographer, do not spend money you do not have on a camera.

Stay within an affordable budget. All that matters is that the camera can be manually-controlled (exposure and focus) and that the lens is removable (so they can try out different focal lengths).

Rule #2: Buy Used Instead Of New

Like many specialized fields, photography has a high turnover rate in “pro-sumer”-level gear. Take advantage of someone else’s frustration by buying used gear for cheap. In class, I will show the students how to make the most of their manual-mode-capable cameras.

Canon and Nikon, respectively, are the world’s two biggest camera companies, which means their used markets are swelled to the brim with older models lacking some of the latest bells and whistles. Many of these cameras are perfectly acceptable for shooting spectacular images. In fact, I shoot with a used camera I bought in 2016 that was new in 2012.

Every day, I am looking online for used gear for the brand that I use (Nikon), and I would be more than happy to help you sort the good deals from the bad ones. Hit me up!

Email: ryanellisphoto[at]gmail[dot]com

ALSO: If you should decide one day to sell your camera to either give up photography or upgrade your gear, you will have a larger buyer’s market, provided you bought a more well-known and respected brand, like Canon or Nikon.

For those of you with a bigger budget, here are some pricier used camera options:

Rule #3: Buy A DSLR Camera Body

These film cameras from yesteryear are NOT appropriate for this class! Haha. Harrison Twp., MI. June 2016. Photo credit: Ryan Ellis Taken with a Nikkor 35-80mm f/4-5.6D AF lens bought for $25 on Craigslist (compare to $150 for the lens new). The 35-80mm is “just” a kit lens, yet look at what can be done with it.

Digital Single-Lens Reflex cameras are better than point-and-shoot cameras, because they allow you to change lenses. They are also “better” than mirrorless cameras, because mirrorless cameras are presently cost-prohibitive.

The reason why I use Nikon over Canon, personally, is because I can buy a Nikon lens (F lens mount) from as far back as 1959 (the year the F lens mount was launched) that will fit my 2012 Nikon D800. I have gotten fantastic Nikon lenses from garage sales for a song. While you can find vintage Canon lenses, they will not always fit on modern (EF lens mount) Canon cameras. Sadly, Canon cannot brag about that wide of a compatibility-range. The oldest lens that will natively-fit a modern Canon would date back to only 1987 (The year the EF lens mount was launched).

Rule #4: Do Not Overspend On Memory Cards!

These 64 GB Class 10 SD cards from Micro Center are only $20 apiece. Quite a steal when you compare with prices anyplace else. Harrison Twp., MI. June 2016. Photo credit: Ryan Ellis Taken with a Tokina 16-28mm f/2.8 AF FX lens bought used for $400 at Westborn Camera in Dearborn, MI (excellent little store; competitive prices). Retails at $850 new. It is an ultrawide lens just short of being a fisheye, and it makes the world look whimsical with its linear distortion. It is one of those pretty lenses that you pick up down the road in your photographic journey.

I get Micro Center-branded memory cards from Micro Center at the cheapest price point around. It is only $20 for a 64 GB SD card at Micro Center, compared to $20 for only 16 GB at most other places. That one 64 GB SD card will get me over 500 “RAW + JPEG FINE” photos, or over 2,000 “JPEG FINE” photos.

Micro Center 32800 Concord Dr, Madison Heights, MI 48071

Phone: 1-(248)-291-8400 Hours: 10:00 AM - 9:00 PM

Rule #5: Buy The “Nifty Fifty” / “Fantastic Plastic”

My very own “Nifty Fifty.” It is so old, it is made out of metal (instead of plastic) and uses Manual Focus (MF) instead of Auto Focus (AF). I bought mine used for $50 off Craigslist. Harrison Twp., MI. June 2016. Photo credit: Ryan Ellis Taken with a vintage Nikkor 135mm f/3.5 MF lens that cost only $50 (compare to at least $1000 for a newer model at f/2 with AF).

The 50mm f/1.8 MF or AF is "the” inexpensive Jack-Of-All-Trades lens that sells used for $100 all day long. The pro is that it renders “fantastic” photos while not costing much. The con is that it is a “prime” lens (it has no zoom function [unless you “zoom” with your feet]).

If your camera already comes with a lens, like an 18-55mm f/4-5.6 AF, and you are on a tight budget, skip the extra lens. The 18-55mm f/4.5-5.6 AF is the “kit” lens that comes with almost every new camera kit for all models and brands of cameras. I will let the students try out other focal lengths, provided they have a Nikon camera body, and I am looking into buying lens mount adaptors to let kids with Canon (and other brand) camera bodies try out my various Nikon lenses (I just have to see who has what before I buy the adaptors). Trying out different focal lengths of lenses is a great learning experience that inspires creativity, via the changed perspective. 

ASIDE: I carry an old 50mm f/1.8 MF ($50) as well as a new 85mm f/1.8 AF ($300) when I shoot my personal and professional work in Detroit, and I find myself using the cheaper 50mm over the much more costly 85mm, because it is the perfect all-around lens for almost anything nearby.

Simply put, the 50mm f/1.8 is an inexpensive, catch-all lens that is wonderful for beginning photographers all the way to advanced ones. 

Remember:

Jack of All Trades

Master of None

Though Oftentimes Better

Than Master of One

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I LOOK FORWARD TO TEACHING YOUR KIDS THE ART AND SCIENCE OF DIGITAL PHOTOGRAPHY!

-RYAN ELLIS

P.S.

Good photos do not come from expensive gear; they come from positioning oneself in the right place at the right time. Here are some photos that share such an origin —

Here is a photo taken with a $50 lens:

Roseville Fireworks Show. Roseville, MI. June 2016. Photo credit: Ryan Ellis Taken with a vintage Nikkor 50mm f/1.8 MF lens that cost only $50 (compare to at least $80 for a used Nikkor 50mm f/1.8 AF lens or a new Nikkor 50mm f/1.8 AF lens for $130 [the “nifty fifty,” “fantastic plastic” 50 mm f/1.8 AF is sold used for $100 all day long anyplace; do not overpay])

Here is a photo taken with a $20 lens:

Swans on Lake St Clair in Harrison Twp., MI. March 2016. Photo credit: Ryan Ellis Taken with a vintage Quantaray 75-300mm f/4-5.6 MF that cost only $20 (attached to a $50 Nikon 2x Teleconverter). A new 75-300mm would sell for $200 for Nikon or Canon.  

 Here is a photo taken with a $50 lens:

Meat Market Worker with Customer in Eastern Market. Detroit, MI. June 2016. Photo credit: Ryan Ellis Taken with a vintage Nikkor 50mm f/1.8 MF lens that cost only $50 (compare to at least $80 for a used Nikkor 50mm f/1.8 AF lens or a new Nikkor 50mm f/1.8 AF lens for $130 [the “nifty fifty,” “fantastic plastic” 50 mm f/1.8 AF is sold used for $100 all day long anyplace; do not overpay])

©2016 Ryan Ellis Photo. All Rights Reserved.