Terry Clark Photography

Are you looking for a photographer that can bring a fresh and creative eye to your next project or portrait?

Then look no further. Terry Clark Photography is one of the most sought after photographers in the country. Having photographed three Presidents of the United States, kings, titans of industry, and business of all size and description, there is no assignment too small or too large.

Having traveled far and wide to create storytelling pictures for his clients, Terry Clark Photography has the experience and knowledge to pull together any project, domestic or International. If compelling images are most important to you and your client, working with our team will ensure the success of your project.

Call 412-491-7887 to speak with a team member about your next photo shoot.

email – terry@terryclark.com

Filtering by Tag: Pittsburgh event photographer

X Marks the Spot

I need to give a big shout out to two outstanding people who recently helped save the day, and my bacon. Amy Maki and Stacey Moore work for Fuji and are my heroes. They didn't know me but came to the rescue when I needed to get two of my cameras repaired. They didn't have to reach out and help, but they did. Thank you so much.

I've been an evangelist for Fuji for some time. I'm not paid by them or anything like that; I use their gear. And when I find something that works, I tell people. Loudly. Let me explain why.

First, the files I get out of these cameras are outstanding. The image quality, color rendition, and file size work for all the professional applications I need. 

Next, Fuji cameras are a joy to use. The size, weight, and operation of the cameras are as close to that of a film camera as I've ever found in the digital realm. To me, that matters. There is more of a spiritual connection. It's a mind, body flow of creativity that is not interrupted by the awkward feel of my tools. It's is not the first time I've had such a connection. The Nikon F and Leica M cameras provided me the same experience. Not surprising, Nikon consulted a Zen master on the design of their first flagship SLR. 

The weight of the camera is perfect. I usually work with three bodies and lenses at a time. Fuji is not too big, not too small, just right to be carried all day without the typical fatigue associated with lugging multiple DSLRs around. I've worked this way for decades. It's incredible I can now do it without exhaustion or an aching back.

Fuji makes some of the best glass in the industry. Their large format lenses are legendary. They have taken that knowledge and transferred it to the digital side. As a result, the lenses are so sharp many have compared them to those created by a certain German company, especially in their f/2 line-up lovingly nicknamed "Fuji-crons."

A large number of naysayers point to what they believe is one of Fuji's major shortcoming – the APS sensor size. For those pixel peepers, all I can do is shrug my shoulders and ask, why? I've made prints up to 4x6 feet that are so vivid and tight you seem to walk into the image. I've shot billboards, annual reports, magazine covers, and dozens of other types of assignments. In each case the image quality, sharpness, and dynamic range exceeded expectations. For what I need, Fuji works.

While they are a relatively young entry into the digital market, they're growing, expanding their lens range, and best of all, they keep improving their cameras via firmware updates. Kaizen – continuous improvement, a long-term approach to work that systematically seeks to achieve small, incremental changes in processes to improve efficiency and quality. Fuji has embraced this philosophy with open arms to the benefit of consumers, amateur and professional alike. 

But, the bottom line is this; pick the camera that fits you and produces the images you demand. You can have all the gear in the world, but if you don't have a vision, you have nothing but a fancy camera. A pinprick in the bottom of an oatmeal box can produce a work of art in the hands of an artist.

 All I'm saying is Fuji fits my work, my style, and my heart. And maybe yours, too. And it doesn't hurt to have heroes out there watching your back, either. 

Fuji X-E2 | 18-55mm "kit" lens. How much sharper does this need to be?

Fuji X-E2 | 18-55mm "kit" lens. How much sharper does this need to be?

Fuji X-Pro2 | 18mm f/2 lens. Advertising photograph, color grading in post.

Fuji X-Pro2 | 18mm f/2 lens. Advertising photograph, color grading in post.

Get into the scene

Things I learned long ago. Get in close, put the viewer in the scene. It's a small frame, use every millimeter, edge to edge. 

Working with Landesberg Design on an annual report for The Pittsburgh Foundation this was a dance class. It was pretty "free form," which is another way of saying it was crazy. Kids were everywhere doing their thing. I just tried to stay in the middle of it all and key in on a few of the more expressive dancers. Everything came together in this frame, edge to edge. The moment I pressed the shutter, I could feel the gentle hand on my shoulder from my old professor, Joseph Costa. I knew that one would make him proud.

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Turtle Race

Western PA knows how to have fun, sometimes in unusual ways. Today I present, turtle races! It was an event at a tavern in Ellwood City, PA many years ago. Not sure if they still have these competitions. I somehow doubt it. But that night, the turtles were cheered on like champion racehorses. Once the match ended, the racers retired to their box for what was probably a much-needed rest. No tortoise was harmed in the contest, winner or not. 

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The winner's circle

The winner's circle

Zen Way

Scan your frame from edge to edge before you release the shutter. Look for the angles, the complex geometry.  Where are the squares? The triangles? Does the eye flow around the image? Is it a circle or elliptical motion? Where are the subject points? Do you have a center of interest, an anchor point?

If you’re capturing moments on the fly, you’ll need to master the principles, so they become present without looking. Put the technique so deep within you it’s always there. Find your flow, your zone, your Zen. 

The checker tournament was intense. Man pitted against man. A hall filled with silence. One by one they fell until only two remained. The shutter of my Leica broke the muteness like a stick snapping in the forest. I paused, waited, composed and finally squeezed off a frame when the elements came together, the narrative complete, the composition revealed.

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A Widelux for Andy

In the world of film, I think I’ve shot, and owned, just about every possible modern camera format manufactured. I’ve had 2x3 (35mm); 4x4; 6x6; 6x7; 6x9; 6x12; 6x17; 4x5 and 8x10. I never tried 11x14 or the giant Polaroid, but still, not bad. 

Of all of the cameras I’ve owned, the one I enjoyed the most is the swing lens Widelux with its 2x6 format. The camera has limited shutter speeds, no focus and is super quirky to use, but once you get into a rhythm, it can be sublime. To produce full-frame images with this camera, with a subject and related information corner to corner, takes a near Zen ability to visualize because when you push the shutter release, the lens travels along a curved track to expose the film. Unlike other cameras being instantaneous, there is a time lag between the left and right sides of the image capture. Visualization is critical. 

It would be logical to assume, given the peculiar nature of this device, most practitioners would use it for fine art photography. And it’s probably right, at least to some extent, but never underestimate the mind of a photographer. In my time using the Widelux, I produced images for annual reports, portraiture, weddings and documentary projects. 

The photos here are from one commissioned project – the 1994 opening of the Andy Warhol Museum. I was one of five photographers (two local, three national) hired by the museum to document the weekend activities. It was nearly seventy-two hours of non-stop picture opportunities. Fireworks, street fairs, black tie gala, clowns, celebrities, and of course, everything Andy. I decided to cover the opening, at least partially, with a Widelux because of the grand nature of both event and image produced by the camera. It just seemed to fit. It was also different, much like Andy. 

 

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