Blue Vette in Motion | ©2007 David Allio

This year, my first workshop is a combination superspeedway and drag racing program at the Las Vegas Motor Speedway on March 24-25.  New to the schedule will be two-day workshop programs at Kentucky Speedway and Richmond International Raceway.  These digital workshop programs, strong on basic photography techniques, are updated each year to reflect changes in digital imaging technology.

Each workshop program is customized to fit both the physical facilities at each racetrack as well as individual participant goals.  The bonus to these instructional workshops is the restricted area access while real race cars are on the race track – weather permitting.

The photo shown above was created on The Strip at Las Vegas Motor Speedway during BFGoodrich Midnight Mayhem.  The visual effect was created in-camera using a 24-70mm zoom lens.  By following the forward motion of the car – a technique called panning – and changing the focal length while the shutter was open for 1/13th of a second – a techinque known as zooming – the converging lines were created.  The camera, mounted on a monopod, was set to a film speed of 400 ISO.

If you are interested in learning more, check out the workshop schedule and register today.  A limited number of participants are accepted for each workshop program.

This blog was started just a few months ago and continues to grow through a series of transformations.  This installment is the first using the new title: Experience Photography.  The title is an accurate representation of my concept of the visual medium.  We should all Experience Photography in our daily lives.

As a working photographer, occasionally I get to use the flash units – affectionately known as house lights – mounted in the rafters in Timmons arena during basketball games at Furman University. It is not uncommon to find one or more sets of these house lights hanging in the rafters of larger college and NBA basketball arenas. Each set may be strategically positioned and used by a different media outlet.

UNCG at Furman | © 2012 David Allio for Icon SMI

The advantage of these house lights can mean a gain of up to five f/stops in exposure over the existing arena lighting. Five f/stops are comparable to the difference between a film speed of 200 ISO and 6400 ISO, or the difference between an aperture of f/2.8 and f/16 – nice advantages for image quality and depth of field.

As for the third factor in an exposure formula – shutter speed – the flash synch speed (synchronization between the camera shutter and the flash discharge) varies by camera with 1/60th to 1/250th of a second being common. It is that flash synch shutter speed that can become a disadvantage when using house lights to create photographs involving action sports.

Flash units create output based on burn time or, stated another way, the length of time the flash tube remains on. This burn time may be as short as 1/10,000th of a second – great for freezing action – or as long as 1/100th of a second – not so great. A burn time of anything longer than the camera synch shutter speed means that sync speed becomes the effective shutter speed for the exposure. A shutter speed of even 1/250th of a second allows for a lot of motion and the resulting blur. So, a quick burn rate is important to successful action sports flash photography.

There is also the matter of the existing room lighting. At a camera synch shutter speed of 1/250th of a second or slower there may be a sufficient amount of existing light to allow game motion to become blurred. And then there is the difference in color temperatures between existing room lights and the flash units – sometimes as much as 3000K.

That’s not all. There are other considerations required for using house lights, including: a minimum burn rate at some televised games, highlights and shadows based on flash position(s), and flash recycle time between exposures.

This photograph of Brandon Sebirumbi (24) Forward for the Furman University Paladins executing a jump shot from the paint was created using the Furman University house lights. For the exposure, a Nikon D3 camera was equipped with an AF-S Nikkor 70-200mm 1:2.8 GII ED lens set to 98mm. The camera synch shutter speed was 1/250th of a second, aperture setting f/5.6, and film speed 250 ISO. The camera pre-set white balance for flash was selected. And, the house lights were discharged by using a radio remote connected to the camera hot shoe.

Ask a basketball player about the toughest shot for them to master and the responses vary from person-to-person.  A comparison of foul shooting percentages versus a lay-up, jump shot, or three-point attempts shows that some players are better at one particular shot over another.

Bisons vs Spartans | © 2012 David Allio for Icon SMI

What about a basketball photographer – what is their toughest shot?

Again, the answer varies with each photographer.  For me, the toughest photograph to get right is the three-point jump shot.

Consider the obstacles, starting with floor position.  To capture the face of the basketball player, that player must be across the basketball court from the photograher’s position.

Now think about how many things can get in the way.  Nine other players and three referees are also on the floor.  Of those, typically there is at least one defender tightly guarding the shooter with arms waving to shield the shooter’s view of the basketball goal.

Eliminate all of those barriers and you still have to contend with the shooter.  It is not uncommon for their face to be blocked by the basketball – often called “basketball head” because the basketball appears to be sitting on the player’s shoulders.  Or, the shooter’s face may also be shielded by their own outstretched arms.

Given all of these obstacles, there’s one more element that makes this my toughest shot in basketball – the erratic motion of the player.  In the process of handling the basketball, the player dribbles across the court.  Then, they stop abruptly, square to the basket, and change from a quick horizontal pan to a vertical jump.  A tight composition means that the player can jump right out of the frame.

In this photo, University of South Carolina (USC) Upstate Spartan  forward Torrey Craig attempts a three point jump shot at the G.W. Hodge Center on the USC Upstate campus. A 200mm f/2.8 lens was handheld.  The existing light exposure was f/3.5 at 1/1000th of a second at 3200 ISO.

If it weren’t for the gospel singers, cheerleaders, and marching band, it would be possible to think Stephen Colbert was a real candidate in the South Carolina GOP Primary.  His Party Crashers Rally at The Cistern on the College of Charleston campus was attended by 3500-plus, a larger turnout by far than for any of the candidates on the ballot in the Palmetto State.

Stephen Colbert at the Party Crashers Rally | © 2012 David Allio for Corbis

Despite the fact that Colbert was not allowed on the primary ballot, the Party Crashers Rally was covered by all of the major media outlets.  Colbert, of Comedy Central fame, announced before the rally that he was running for “President of the United States of South Carolina.” Based on his material, the rally was apparently a way to make fun of the South Carolina GOP and Super PACs that have emerged as a result of the Citizens United ruling by the Supreme Court.  After the grind of the campaign trail and the repetitive drone of the stump speeches, Colbert’s digs and puns were welcome comic relief.

This image was created using a Nikon D3 equipped with an AF-S Nikkor 70-200mm 1:2.8 GII ED lens set to 200mm.  The exposure data was f/8 at 1/640th of a second using a film speed of 1000 ISO.  A pre-set white balance for cloudy skies was selected for the diffuse sunlight.

For the professional photographer on a political assignment access is a key component to success.  When it comes to major political debates, there are three major elements – the spray, the spin room, and the live debate hall.

The spin room is where surrogates, and occasionally the actual candidates, explain what the candidate said or meant following a debate and it is the easiest access of the three restricted photo areas.  The spray typically allows one photographer per media outlet to the front of the debate hall during candidate introductions – a very quick in-and-out photo op.  Photography during the live debate is the toughest credential.  Access is typically restricted to one photographer from each of the elite worldwide media outlets.

CNN Debate Set | ©2012 David Allio for Corbis

Working a live debate is very similar to a boxing match.  Yes, there may be a lot of verbal sparring in a political debate, but rarely is there physical contact.  However each candidate, much like a boxer, has a series of “tells.”  These “tells” are physical signals that the candidate is about to make a gesture or body language motion that may be unusual or important to the photographer.  Candidates typically start in a neutral stance and may hold that minute after boring minute as they repeat their talking points.  Then abrubtly, here comes a photo op.

Sometimes the gesture may last a split second and never be seen again.  But, some candidates will repeat a gesture for effect.  The trick is to learn each candidate’s “tell”in order to be ready for that special moment.

These photos from the CNN debate were all created with a Nikon D3 camera. The white balance was custom set to 3230K. The debate set photograph was created using an AF-S Nikkor 14-24mm 1:2.8G ED lens set at 17mm. The exposure was 1/320th of a second at f/4 with a film speed of 3200 ISO. The individual candidate photos were exposed through an AF-S Nikkor 400mm 1:2.8 G ED lens. The exposure data was f/3.2 at 1/400th of a second and a film speed of 3200 ISO. A monopod was used for support and the VR vibration reduction was on.

Today marks the 231st Anniversary of the Battle of Cowpens.  That Revolutionary War confrontation on January 17, 1781, between the Continental Army led by Brigadier General Daniel Morgan and the British Regulars commanded by Lieutenant Colonel Banastre Tarleton is proclaimed as one of the most important of the entire war. The decisive tactical battlefield victory by Morgan turned the tide in favor of the revolutionary forces.

231st Anniversary of the Battle of Cowpens | ©2012 David Allio

Each year, the National Park Service hosts reenactments and celebrations of the historic battle.  There are guided tours of the battlefield and demonstrations of living conditions and firearms from that period.  Many of the participants of the reenactments spend frozen nights and chilly days in tents on the grounds.  These dedicated figures strive to provide historic accuracy in their wardrobe and accessories as well as their narratives.

As diligently as these participants work toward historic accuracy, there is the problem of the present day creeping into an image and ruining the illusion of the recreated history.  Aside from the obvious mingling of nylon windbreakers of the visitors with woolen uniforms of the 2nd South Carolina Infantry or the leather of the backwoods militia, simple things like the appearance of a fresh green salad on a handmade table ruin the visual effect.  Just as with those creating the reenactment, it is critical for the photographer to be diligent in the accuracy and content of their images.

This image of a musket demonstration from this year’s reenactment was created using a Nikon D3 equipped with an AF-S Nikkor 70-200mm 1:2.8 GII ED lens set to 155mm.  The exposure data of f/8 at 1/1250th of a second using 400 ISO is about one-third of an f/stop less than the automated exposure suggested by the in-camera meter.  This intentional under-exposure improved color saturation and prevented the participant’s faces and musket smoke from becoming over-exposed in the harsh late afternoon sunlight.

As I work photo assignments at various public political events it is not uncommon to entertain questions about the equipment on my shoulder, especially when the candidate is late.  Usually it is a fun way to meet people and pass the time. Typically the questions involve lens types, equipment costs, or requests for suggestions on upgrading gear.  Unless I’m pressed for time, I am usually happy to engage in a bit of conversation.  But today there was a weird one, even for Friday the 13th.

Spartanburg GOP Bronze Elephant Dinner | ©2012 David Allio for Corbis

A disheveled guy in the crowd asked his first question, then maked a disparaging remark at my answer.  Then came a second question.  He responded with another differential comment.  By the time the third question came around, I was not sure what to expect.  As he finally seemed to be ready to get lost in the crowd he tossed the following comment over his shoulder, “Oh, I’m a photographer, too.”

Now it was my turn to ask him, “Where’s your camera?”

He responded, “I just didn’t feel like bringing it today.”

As he disappeared into the milling crowd I sadly wondered to myself, “What kind of photographer comes to meet a candidate for the office of President of the United States and doesn’t bring any sort of camera?”

In today’s photo, a foreign press member grabs a personal photo from outside the Spartanburg GOP Bronze Elephant Dinner at James F. Byrnes High School.  My camera was a Nikon D3 with an AF-S Nikkor 24-70mm 1:2.8G ED lens set to 29mm.  The exposure was an aperture of f/4 ,with a shutter speed of 1/125th of a second, and a film speed of 6400 ISO.

Candidate for the 2012 Republican Party presidential nomination Willard Mitt Romney speaks during a town hall meeting at The Hall at Senate’s End in Columbia in advance of the South Carolina GOP Primary.  The former Massachusetts Governor comes to the Palmetto State fresh off a primary win in New Hampshire.

Mitt Romney | ©2012 David Allio for Corbis

One of the great challenges of working on the campaign trail is finding an advantageous angle for presenting the size of an audience.  There is much more involved than just bolting on a wide angle lens and releasing the shutter.

In general, composing a crowd follows the same rules as composing a landscape.  Using the Rule of Thirds creates a much more interesting composition than simply targeting the candidate in the center of the frame.  In this photo, the horizon is along the line dividing the top one-third of the frame, allowing the audience to fill the bottom two-thirds of the frame.  Then, the candidate breaks the top one-third line and sets the left one-third.

For this exposure, a Nikon D3 camera was fitted with an AF-S Nikkor 24-70mm 1:2.8G ED lens set to 52mm.  The manual exposure settings included an aperture of f/4, shutter speed of 1/320th of a second, at 3200 ISO.

Governor Rick Perry (R-TX) launched his campaign for the office of President of the United States in South Carolina on August 13, 2011.  Now, less than a half-year later, following a series of stumbles and a less-than-impressive result in the Iowa caucuses, Perry has re-launched his campaign.  Again, he is in South Carolina, hoping for better results this time around.

Last time, Perry announced in a suit and tie from a controlled environment where he had little interaction with his audience.  Now, he is fully engaged in shirtsleeve retail politics, taking his message to the people where they live, work, and eat.

Governor Rick Perry (R-TX) at The Beacon | ©2012 David Allio for Corbis

On Sunday afternoon, candidate Perry made an appearance and stump speech at The Beacon, a traditional campaign stop, in Spartanburg, South Carolina.  The advance crew expected about 50 people.  Despite the dreary weather, several hundred citizens crammed the small dining room to hear the candidate.

From a photography standpoint, thankfully the West-facing glass-lined dining room was evenly lit due to the outdoor overcast.  Otherwise, the candidate would have been extremely backlit and the crowd would have been a madding mixture of harsh highlights and shadows.

This photograph was created with an AF-S Nikkor 24-70mm 1:2.8G ED on a Nikon D3 camera body.  The exposure data included an aperture of f/5.6, shutter speed of 1/125th of a second, using a 1600 ISO setting.  The composition was at 24mm.

Every four years the United States has a national election for the office of President of the United States.  In advance of the 2012 election it seems that some candidates have been on the road since the election of 2008.  Such has been the case of Congresswoman Michele Bachmann (R-MN6).

Despite all of the town hall meetings and public appearances in the early primary and caucus states, the results of the first ballot was her last for the 2012 campaign.  Her campaign trail officially ended in Iowa.

Congresswoman Michele Bachmann (R-MN6) | ©2011 David Allio for Corbis

Money drives political campaigns.  That money is evidenced through public presentations and the use of professional lighting companies.  The idea is to present the candidate in the best light possible.  As the campaigns survive and prospective candidates move closer to the nomination, more money is spent to engage more staging and lighting companies to travel and set up in advance of each appearance.

This elaborate staging has emerged earlier in this campaign cycle than ever before.  My suspicions are that these expensive settings are now required because of social media.  In the past, the official media was limited to the back of the room or on a platform stage left or stage right.  Limited access meant that less extensive and less expensive stage and lighting sets were required.  Now with the growth of social media, any cell phone in the audience may become the source of a blog, tweet, or video clip.  In the modern election climate, candidates cannot afford to be exposed in a bad light.

For this exposure, a Nikon D3 digital camera was fitted with an AF-S Nikkor 400mm 1:2.8 G ED lens. The exposure data was f/3.2 at 1/320th of a second and a film speed of 3200 ISO. A monopod was used for support and the VR vibration reduction was on.