What’s this? A non-adventure, non-outdoor rock and roll photo? Are you sure you’re on the right blog? Better glance up and check the URL.

Yep, you’re in the right place, or at least you’re here on the Dan Bailey Photo blog. I won’t speculate as to whether that’s where you should be.

Back when I worked as a stock photo editor, I’d often get asked by photographers, “What should I photograph?” My answer was always, and continues to be: Shoot what you love. It will make you better.

I promise.

Photographing subjects that fill your soul with excitement, no matter what they are, and no matter if you think they’re marketable, will draw you into the process and drive your creativity. You’ll come up with cool new ideas that you can try out later on “more marketable subjects.”

These are photos of one of my favorite bad ass guitar slingers, Chris Duarte from Texas that I took a few years ago. I shot them because I love rock and roll, and I love photography. Even used black and white film, which I NEVER use in my photography business. I thought it would be a cool thing to do, and it was.

My advice today is to fall outside of your own style and stereotypes every once in awhile and shoot something totally different. Or as one reader, Pete Miller put it, “Shoot passionately, not fiscally.”

You’ll have fun. I promise.

Enjoy the shots.

The rumors were true.

After months of speculation and widespread leaks, the official announcement finally came yesterday for the brand new CMOS FX sensor, dual CF/SD card slot 36.3-megapixel Nikon D800 Professional HDSLR Camera.

To date, this is the world’s highest megapixel digital camera. Image quality is simply outstanding. Take a look at these examples on the Nikon website to see the unbelievable amount of smooth detail, texture and shading levels that this beast is capable of producing.

Of course, as an action adventure photographer, my initial reaction was based around the fact that the D800 only shoots at 4 fps in FX mode. With my D700, I’m used to shooting at 5 fps.) Compared to the new Nikon D4, which shoots at 11 fps, 4 is pretty slow. I was even quoted on Twitter last night as saying, “Where’s the Nikon love for us adventure guys?”

However, I now realize that I was just cranky, hungry and tired. After a good meal and a full night’s sleep, I now have a new perspective on the D800, which is that I simply MUST have this fantabulous new device. After all, I did fine for years with only 4 fps, which is all the Nikon N90 had, and besides, for me, it’s often about moment, and not just frame rate. Also, if you look at the specs, you’ll see that the D800 is actually lighter and more compact than the D700, which indeed makes it the ideal fast and light adventure camera.

However, this is all back seat stuff. What really matters is not a few ounces shaved on the housing. Nor is it the exact number of frames that I’ll be able to capture of the mountain biker as he flies past me, nearly careening into me and sending us both into the trees because I got just a hair too close in my drive to get the ultimate shot.

No, what really matters, for me and for you, is the absolutely stunning image quality that the D800 will produce. We’re talking about a level of sharpness and detail that has never before been seen on a 35mm camera. We’re talking medium format quality in a box that you can take out on the trail with you. We’re talking game changer here. Hello future.

Of course, to be honest with you, I’m a little scared terrified by the D800. Why? Not because I’ll have to start buying more hard drives to store 36.3MP RAW files, but because this will be the first HDSLR that I will own in my life.

The D800 does 1,930 x 1,080 Full HD movie capability with stereo sound, and I’m scared that I’ll like it. I’m scared that I’ll be good at it, and since I already have a degree in audio engineering and music production, as well as the tools and inspired creativity to potentially write music and score video, I’m completely and utterly afraid of the amount of time that I know will be required to even begin to dabble in that sort of thing. I fear the ideas that I know will start flooding into my head as soon as I pick up the camera because I already don’t have enough time to do everything I like to do.

However, I refuse to worry about that right now. To me, what matters is that the D800 is an incredibly powerful, next generation image making machine that will do everything the D700 does, only better. Except for the frame rate thing, of course. I see this thing being the total ultimate camera for outdoor photographers who want the best quality from their work.

I plan to get one as soon as they’re released, and can only begin to speculate about how the complexities of brilliant, forceful, end of day sunset light and the gentle palettes and smooth transitions of diffused softbox light will look in 36.3 megapixels. And as far as the fps thing goes? Well, I’ll just have to wait, or else buy a D4. Wouldn’t mind having one, just don’t want to hike with it.

I can’t wait. Street price on the D800 will be $$2,999.95 and it will be available in late March. Just in time for Spring.

Check out my friend Photo John’s writeup and detailed D800 feature list at PhotographReview.com.

Want one? Pre-order your Nikon D800 at B&H Photo here.

So what’s the best lens for shooting portraits?

That’s like asking what’s the best day of the week for eating dessert. Sure, there are hard and fast rules about this kind of thing, but if you’re like me, you scoff at rules and throw them out the window, because you believe that they don’t apply to you.

The short answer is, of course, all of them.

As with any photographic technique, which lens you should use to photograph people largely depends on a few important factors: Your own creativity, how you want to show your subject in relationship to the environment, what lens you happen to have with you at the time.

Wide Angle Lenses

I’m a huge fan of shooting portraits with wide angle lenses, as are many pros. They allow you to get in close to your subject, and still include a large amount of the environment and setting around your person. Wide angle portraits are about telling the story, not just showing a person. They’re also great for shooting portraits inside, or in confined spaces.

In fact, if you were ever to take a course called “How to shoot environmental portraits,” the first thing they’d tell you would be to break out your wide glass. While I’ve used my Nikon 14mm f/2.8 quite a bit for portrait work, my 24mm f/2.8D probably sees the most use for wide angle people shots. It’s small, compact, light and is pretty light on distortion at the edges.

Normal Lenses

Normal lenses rock for portraits, because they’re light, fast and have a very shallow depth of field. (Also great for shooting inside.) They make your subject pop against a slightly sharp background. Notice the difference in focus between the aviation portrait above and below. The 50mm lens gives the background just a little bit of softness to help isolate the subject.

Even the kit lenses that come with many cameras fall into this category. They might not be as fast as something like a 50mm f/1.8D, or the new Nikon AF-S 50mm f/1.8G lens, but with the same range of focal length, they can certainly give you good results.

Short Telephoto Lenses

Traditionally, the short telephoto lens, (around 85-105mm in range), has always been considered the ideal lens for photographing people, because it does two things:

With an inherently shallow depth of field, it gives you an even softer background which helps to isolate your subject in sharp focus from the rest of the subject matter in the frame.

Also, the telephoto lens slightly compresses perspective, which renders the human face in a very appealing way. As it was explained to me years ago in a workshop, our ears are too far back on our head, and a short tele flattens our features just enough to make us look good. My short telephoto of choice these days is the Nikon 85mm f/1.8, because for a lens of that range and speed, it’s exceptionally lightweight and compact. Nikon also has their new AF-S NIKKOR 85mm f/1.8G Lens, which gets very high marks from users who love its faster, silent wave motor autofocus capabilities.

Long Telephoto Lenses

As much as a short telephoto isolates your subject from the a soft focus background, a longer telephoto does it with even more drama and effect.

I actually use my 80-200mm f/2.8 lens a great deal for portrait work, because it lets me fill the frame with the subject from a longer vantage point, and because, frankly, that’s what I often have on the camera at the time when I’m shooting action and sports.

So, go ahead. Break the rules. Exercise your creativity and try shooting portraits with all of your lenses.

How’s this for a deal?

Right now you can get ALL 3 of my photography eBooks for only $17.

I’m offering this limited time deal through PhotoWhoa.com, who has bundled together all three of my books at a 48% discount off of the regular price.

This offer is only good through February 7, and it will likely happen again, at least not any time soon.

How to Become a Pro Photographer

You want to take the next step from amateur to pro, but you have no idea how you can start earning a living from photography. This e-book answers many of your questions about the industry and the business-side of photography.

With this e-book, you will learn the ins and outs of the photography business. This book isn’t about how to take better photos, it’s about taking your hobby into a full-time career. This is the book to read if you need to know about the business and logistics side of a photography career.

Making the Image

Making the Image is a conceptual guide to have you thinking outside of the box so you can start creating beautiful images. With this guide, you’ll be able to learn how you can take beautiful photos in order to create true emotional impact with your audience.

Bailey utilizes beautiful imagery from his own portfolio so you can easily grasp the concepts that he’s teaching. For your convenience, the book is horizontally formatted, making it easily readable on computers and iPads.

Going Fast with Light

Going Fast with Light teaches you the nitty-gritty technical details so you can properly use your tools to take better photos. Specifically, you’ll learn about using off-camera flash in outdoor settings, where even the best photographers have trouble against the elements of nature.

With the techniques used by Dan Bailey, you’ll be able to efficiently take control of lighting situations even when you face great challenges such as the sun, and you’ll be able to do it without having to lug cumbersome, heavy lighting equipment.

Click Here to Get All 3 of These eBooks for Just $17

Again, this offer ends on February 7. Consider signing up for my Adventure Photography Blog Newsletter to stay informed about future deals and get exclusive content delivered right your inbox.

Who needs a light stand when you have a backpack?

Strobist gear here is about as simple as you can get: Camera, SB-800 Speedlight that’s being triggered from the on board pop-up flash on my Nikon D700, and a Lumiquest Softbox III. Now that’s going fast with light.

Of course, what you don’t see here is all the times my flash wouldn’t fire because the brim of my bike helmet kept pushing the pop-up flash down just enough to shut off the circuit. I tried holding the camera away from my face a little bit, however after multiple failed attempts, and much laughter from my model, who happened to be a fellow photographer, I finally discovered a workable solution

I took my helmet off.

Sometimes you just have to improvise.

I’m proud to announce that I’m now officially featured as a Photoflex Pro Showcase Photographer. As someone who’s been using Photoflex gear for over 20 years, (I still have the 12″ LiteDisk that I bought in 1991 and my Photoflex Galen Rowell Chest Pouch), I’m excited and extremely honored to be included among a group of very talented and accomplished shooters, who Photoflex feels are “masters of shaping light and capturing the perfect image.”

In my Going Fast With Light style of adventure and action strobist photography, I need gear that’s lightweight, durable, quick to set up, and that performs in all conditions outside. Let’s face it, I’m highly energetic, and frankly, kind of a spaz at times. I’ve been known to drop things, bang into stuff, and on occasion, even fall down with my gear in hand. I need tools that get the job done and that won’t break, or at least that I can bend and cajole back into shape with a set of Leatherman pliers and some duct tape.

Photoflex gear fits that very strict set of criteria for me. Lately, I’ve been posting some of the photos that I’ve been able to create with my favorite Photoflex tools, such as the Octodome NXT and the WhiteDome softboxes and the TritonFlash battery powered strobe. Very simply, I’m excited about the gear and I’m excited about the imagery that it helps me make.

Check out my profile page on the Photoflex Showcase site and look for the first of my Photoflex LightingSchool Tutorials later this month.

My sincere thanks to the great folks at Photoflex for making kick ass gear, for recognizing me and my photography and for including me in their lineup of professional image makers.

The other night, I trudged into the cold and dark with with my friend Tim to do some snow biking action photography. My idea was to try and get a deep blue background of cold, dimming Alaska winter sky and then light Tim up with the Photoflex TritonFlash.

I’d just gotten my WhiteDome softbox the day before, which throws out a big blast of omnidirectional light. I wanted to light the biker as well as the snow covered trees around him and figured that the WhiteDome would be perfect for that. And as with other recent shoots, using the TritonFlash would allow me to keep firing with fast recycle times in the zero degree temperatures.

The sun was already down when we reached our location, so we quickly got down to business; Tim built the jump and I set up the light. In just a few minutes, I found a vantage point, did some test shots for exposure and then gave him the go.

Here’s the setup showing the WhiteDome in action and light placement in relation to the subject. Also, the shot below shows just how portable the WhiteDome is. For being a 24″ x 32″ box, it rolls up surprisingly small an stuffs into a skinny stuff sac that I can strap the side of my photo pack. Another very useful tool to help me go fast with light.

Exposure was 1/10 sec at f/2.8 ISO 2000, which let me hold onto as much ambient as possible. Lens choice was my Nikon 14mm f/2.8, which allowed me to get in close and still show environment. I got so close on a few occasions that Tim and I actually made contact as he flew past me. I swear, that had nothing to do with the times he ended up crashing into the trees!

Below are three more shots from the series. I like them all, especially the “big air” photo. It has a more dynamic jump, but it doesn’t have any trees in close. The last one was shot much later, well after the all light was gone from the sky. It’s cool, but it lacks the vivid contrast of the green and purple (complimentary colors) that the other shots have.

What do you think?

Dear readers, I would like to take a time out from your regularly scheduled blast of outdoor photography yumminess and say,

Thank You!!!!!!

For what, you may ask?

For reading this blog. For taking the time out of your day to check out what I have to say here on a daily and weekly basis.

Last week was the SINGLE BIGGEST WEEK for visits and page views since I started the blog back in early 2008. In addition, more readers stopped by the site in January than in ANY OTHER month in its four year history. For that, good people, your rock.

I derive great motivation to know that the energetic ramblings of my photography obsessed mind actually amuse you enough to keep you coming back for more. I enjoy sharing my knowledge, experience and insight with you and also seeing your images during Monday photo callouts on my Facebook Page each week.

So, let’s keep the deal going- you keep reading and I’ll keep posting. How’s that sound?

In the meantime, if you’re a somewhat new reader, leave a comment and let me know how you found the site and also what kind of photography you like to do. Don’t be shy, introduce yourself- we’re friendly around here! If you like, feel free to share a link to your own site!

Also, if you have time, why not cruise around some of the older posts- there’s lots of great stuff to explore! Be forewarned, though, others like you have dipped into the archives only to lose entire blocks of recorded time. Some have never returned…

1. You know, I think I have enough camera gear. I don’t really need any more lenses.

2. Why would I need a bigger monitor?

3. I got the shot on the first try, so you don’t need to do THAT again.

4. Wear whatever you want to the photo shoot, especially if it’s black or white.

5. I don’t really care so much if other people see my work.

6. Why would I need two monitors?

7. You know, I don’t think I spend enough time on Twitter and Google+.

8. I love keywording!

9. My best photos were all shot at noon.

10. No, we have to get it perfect, because there will no way to fix it in post.

11. Sweet!! Another overcast day!

12. I generally buy the slowest lenses that I can get my hands on.

13. I can’t wait until I have to upgrade all of my software again!

14. You don’t have to pay me, because I’ll get great exposure on your website.

15. What the heck is a “Strobist?”

16. Yes, I can tell you exactly when I’ll be finished taking photos of… [insert subject here.]

17. I make most of my money from shooting landscapes.

18. Making cold calls to clients is one of my favorite things to do.

19. I think my next car will be a Lexus.

20. When I say “just one more shot,” I really mean it.

Add your own…

As photographers, we’re always trying to stretch our creative boundaries and come up with great new image ideas. However, as you well know, it’s not always easy.

Sometimes, we fall into ruts. We get stale. We lose motivation. Then, when we do stumble upon a new technique or photographic approach that kick starts our inspiration, we throw it into our bag of tricks and commence creating some fantastic new imagery.

Before long, we end up falling back on that “new” technique too often, and it too becomes stale. What started as a powerful creative spark has now become the same old same old. That doesn’t mean you can’t still keep it in your bag of tricks, you just shouldn’t rely on any one approach too much in your photography.

Here are three simple ways to break out of that creative rut and throw some new excitement into your photography. I know there are more, why not leave a comment and tell me what does it for you.

1. Break the rules with how you use gear.

I saw a cool dirt bike photo on a forum the other day, where the photographer had taken a 24″ softbox to the track and used it to light up the biker. In his own comment, he then said, “I realized that this is [obviously] not the proper use of a softbox.”

Let’s get one thing straight. There are no rules in photography. You can use your gear however and wherever you want. In fact, stepping outside the box with your equipment is a great way to drive your creativity. What’s the worst that can happen? You might break it. So what. It’s just gear. You can buy new gear, and if you end up getting a great shot, isn’t that worth it?

Yesterday I got my new Photoflex WhiteDome in the mail, and immediately strapped the thing on my photo pack and took it outside in the snow. If you’ve been following along lately, then you know that I’ve been using the Photoflex TritonFlash on a number of cold, snowy photo shoots. If that high-tech piece of lighting gear works fine in those conditions, what do I have to worry about a big piece of fabric?

The WhiteDome is basically a big Chinese lantern that’s made of durable fabric instead of paper. It’s white on all sides, so it throws 360 degree light. Designed for shooting interiors, imagine the possibilities of shooting outside with it? I was just playing around yesterday, but I’ve already got some new ideas that I can’t wait to try out!

Think of cool new ways to use the gear that’s sitting on your camera shelf, or buy a new piece of gear and try using it in a new way. Chances are, you’ll come up with something really cool. Even if you don’t you’ll still have fun, and isn’t that what photography is really all about?

2. Shoot in crappy weather.

Don’t you get bored of shooting in the nice, friendly sunshine all the time? Yea, me too. Now hang on a minute. I LOVE the sun as much as anyone, maybe even more than you, but nothing is gong to make for cooler, more adventurous photos then shooting in the soup.

Cameras are tough. They can handle the elements, some better than others, but as long as you keep the lens dry, or at least mostly dry, then you should be fine. Don’t put it away when the heavy rain and snow starts falling, keep it around your neck and keep snapping away.

Heavy weather often leads to the most exciting photographs. They’re the ones we ooh and ahh over. Plus, they make a statement about your own personal toughness and true dedication to your craft. Shooting in crappy weather not only leads to great imagery, it makes you look more bad ass. That’s important, right?

3 Use a different camera.

Photography isn’t about cameras, it’s about what you do with them. After all, they’re just tools, and like anything else, you can get so used to your favorite DSLR that you fall into those traps of using the same technique too often, just like you can do with your favorite lens or technique.

Try leaving the DSLR at home and heading out with your compact camera, or your iPhone. The whole iPhoneography thing is taking the world by storm, partly because it’s so liberating. Pro shooter Lisa Bettany, aka MostlyLisa, the woman behind the Camera+ app, is in the middle of an around the world trip with only her iPhone. Pretty cool.

I made these two photos with the Fuji X10. After years of never owning a compact camera, I’ve been having great fun with the X10, shooting panoramas, shooting friends, shooting street scenes, whatever looks like it will make a fun photo. Photography for photography’s sake, and that’s a good thing.