Two weeks to report on, with a common link, landscapes, firstly the latest Lakes trip from November and secondly a welcome return for former member Richard Price in a philosophic frame of mind. Now I am not suggesting that that is Richard’s soul photographic concern but it is the one that has spoken for him more than any other. We shall return to that.
The English Lake District in November is good for photographic enthusiasts who like rain and fog more than anything, was the common theme that came back, but that just raises the question, what do we do when the light isn’t right?
Aside form taking our chances and wrapping up well, there is always something you can do. The first thing that springs to mind is switch to black and white and get closer, look for details, patterns, textures, symmetries and so on.
Or pack up and go home as some photographers with a particular focus and mindset have been known to do. There are always options – though I admit that the idea of a miserable trudge to a distant view followed by a freezing and unfertile wait topped off with a miserable trudge back as anything productive has never been the point for me, but it takes all sorts.
So it was illustrated in our Lakes talk that there are sometimes noticeable differences in shifting viewpoint (where the same view had been taken by adjacent photographers in this case) and amply illustrated by Richard in a slightly different way. The assumption we make as photographers is that the landscape is harmonious and balanced and it is our job to find The Viewpoint that best captures this.
That reduces the art of landscape photography to three components: viewpoint, lens, and frame. But, whereas there are common things in photography that make for a balanced and interesting frame, the art of photography is anything but formulaic.
The first thing that a lens does is gather light. The second thing that a lens does is focus the light on the sensor or film plane so that we can capture an image. The third thing that the lens does, by default, is set the amount of the scene we can see across the frame and how big/small/close/in focus the frame contents are.
Taken all together, the lens is the most influential part of the camera system. It is the mechanical element that determines, more than anything else, the quality of the final image. Its shortcomings can only be edited to a limited extent and what you get is the limit on how good that frame can be. It sets the upper limit.
But camera systems alone do not for good photographs make. At least three of Richard’s photos were taken on a camera phone – we only knew that because he told us – and they did not look substantially different to the other, full-frame DSLR images when projected on our large screen from a distance. The lesson from that? Get to know your equipment inside out.
The frame is about what we exclude as much as it is about what we include. It is the invitation to find the things that make the story in our framework and concentrate on them. It is the box within which we arrange the objects that make our subject interesting and it is the box where we make a harmony of light and content.
And over time and with repetition it becomes a style. That style can be a deliberate following of one school or style of photography or it can evolve naturally over time and become our own bundle of influences.
Style put simply, is an identifiable, personalized way of doing things. Deeper than that, as professor Richard Greaves once pointed out, about writing style, it is “A way of finding and explaining what is true” and that fits too.
That can be said of photography because all art forms exclude and include, it’s just that in our chosen field we have to deal with what is presented to us, aside from some very limited, studio, situations of total control. We include nature somewhere, even if it is only the angle of light falling on a subject. We may shape it, augment it, restrict it but we do include it. Sometimes imitate it.
With landscape photography in particular, forewarned is forearmed, much of the chances for success in a photo shoot come from having a good idea of where to be when to be and what to expect. That doesn’t mean that nature won’t rain on our parade, but when it goes right it goes right for a reason and that means we have something we can use again and again. We develop our own techniques.
And as Richard pointed out, there is something rather soothing about the whole enterprise, from the planning through the doing to the post-production, that yields a satisfaction. The boss might want Wednesdays target by Monday afternoon but in the middle of nature, and cut off from those considerations, there is the chance of re-finding our own balance and harmony.
So, two interesting presentations to kick the year off with and our thanks to all those who presented.
Following on from the table top week this session was a results one. These are important sessions to us as photographers even if we are looking at the same subjects we are not looking at the same interpretations and as we looked at in the last blog, these are a really good place to practice the basics in situations where we can control pretty much everything, cheaply and enjoyably.
Photography, for anyone who takes it at least a little bit seriously, is a problem solving exercise. How do we get others to see what it is that we see that bears recording? The author Flannery O’Connor is quoted as saying ‘I write because I don’t know what I think until I read what I say.’ Substitute “write” for “photograph” and “read” for “frame” and “say” for “see” then I think a lot of us would recognise the feeling. There is a whole craft of difference between “There is something interesting” as opposed to “There should be something in that”. Don McCullin feels that “Photography … is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures,” Hence, in search of what our mind’s eye sees (visualisation) we can apply the principle of “Working the scene” as a method of seeing what we are feeling.
Worth revisiting, before we expand this, are previous considerations on rules – which those of you have persevered with this blog will remember as “Tools” – which are all about organising lines, curves, triangles and shapes for effect. There is an elemental value to thirds, leading lines, filling the frame, repeating patterns etc. etc. but not of their own. We are the difference that focuses all these things into a frame, the ultimate lens.
First off let us consider the notion of the position the camera is in when viewing a scene aka Point of View (POV). Rarely is eye-level when standing, unless you are exceptionally tall or exceptionally small, the best to be had POV. I am not sure what percentage of the images are taken from this rather inflexible POV but willing to bet it is in the high nineties. That is not to totally to dismiss it, it gives us an as seen perspective after all but it shouldn’t be left at that.
Moving, zooming with our feet changes the perspective of foreground to background. Zooming with a lens alters the compression between foreground and background by optically cropping. Then there is the low angle and high angle perspectives and we can combine these POV’s with the tool of thirds to place objects around in different parts of the frame, and / or vary the depth of field.
All these are interactions with the thing that we saw in the first place, the thing that gave us pause. We use the frame of the viewfinder to exclude those things that get in the way of that vision and we use the principles and tools of composition to work the scene in order to explore those things that are particular about it out of which we make a story. It is worth putting in the effort to make sure we have all the angles covered, to have the material to choose from that gives us the best chance of getting on file what we saw in the first instance.
Can’t this be done in post? Technically some of it can, but, the in camera images are the raw materials, not the finished item. Indeed, it could be argued that, as pictures, this data does not exist as an image until it is printed. It is everything we can work with but it’s not everything on offer. Remember, that the camera is a tool for excluding detail from the capture of what we have visualised.
Culling the images should be the left to the start of post production. It is basically a waste of time and battery to keep on chimping (taking the photograph and then looking into the live view and going ooh,ah) and breaks the work flow when working the scene. All things at the proper time is the basis of an effective work flow.
Time spent in capture, getting it right in camera, saves on time staring at a computer screen trying to put things right. Experience tells us that we will, with the luxury of time, squander it fiddling with lifeless images, often trying to hide deformities beyond masks and filters and effects. It is the joy of being an amateur that we can do this to our heart’s content. It is death as far as anyone getting paid for it is concerned.
To get through a lot of images it is a good thing to apply the 2 second rule. Any image that does not hold your attention for longer than 2 seconds delete. No ifs’ no buts’ no maybes’. Two seconds, it appears, is about 4 times longer than it takes to form an opinion of a photograph. Anything longer is not going to make an image any better.
Then we can start working on those that are left. There are a number of different ways of doing this and everyone develops their own, but there has to be a reason for making each decision. I am doing this because … It is always because, as, as far as learning goes, there is no more powerful word in the English language than because.
So, at this point, grab the camera and off we go ….
This week we had our first of the season’s My Photography sessions, Steve Dyer taking us through his studio work including lights, modifiers and some of his post-production work flow. Some fine images, and a sound outline of the equipment he uses to get his preferred evening was an illustration of some of the talent we have in the club. And Steve was happy to state that the club has played, and continues to do so, a strong part in his development as a photographer.
We have looked at light modifiers in the last two posts of 2016, dividing them into soft light modifiers and hard light modifiers. We also referenced the excellent The Strobist website and it remains well worth the effort. These three will form the underpinning of the rest of this post, which will mainly, but not exclusively, be about building an off camera flash on a budget.
Steve has spent the last few years and not a little income in collecting his equipment he uses in his set up. The modifiers can be gained quite cheaply, but the build quality is what you really pay for when you buy the more established branded modifiers. One of the keys here is how core these pieces of equipment are to our particular form of photography. Another is our available budget, of course. It can be done relatively cheaply and here we will be looking at the options from a restricted budget perspective.
So, our mission is to put together a useable off camera flash with modifiers. Keeping within the basic theme we will start with the flash unit. Canon Speedlites start at around £160 and, obviously, are designed to work with Canon cameras (though will work with other makes but might have limited use of extended features) and we can pay over £500 for the top of the range and into four figures for the specialist designs. Nikon is not so very different. But how low can we go? The main thing that we give up on a restricted budget is power, as expressed by the Guide Number.
The Guide Number (GN) is far more than this though. Usually expressed in meters (feet in the USA) the GN is a tool for calculating the light falling on the subject from that unit at a given distance or F-Stop. How does that work? Actually quite simple. I have a flash gun with a GN of 33. I am 2 meters away from my model. The GN = f Number x Distance. The industry standard is 100 ISO but check the flash-gun’s handbook.
So, back to school maths, GN 33 = f number x 2meters.
Therefore 33 / 2 = f number or 16.5. Set the aperture at f16 to f18 according to the capacity of the lens diaphragm.
In an ideal world going to 200 ISO effectively doubles the guide number. Well it would if it weren’t for the laws of physics. There is a thing known as the inverse square law. Double the distance means
four times the light to get the same degree of illumination on a subject. So ISO 400 to get twice the light on the subject from a 100 ISO base.
Now TTL metering will sort all this out if the flash unit and the camera are capable of dealing with it, but that basically doubles the cost of the manual flash. Or we could buy a flash meter (make sure it is a flash meter not just a light meter, and better it is calibrated for photography. as we may waste our money) to do accurate calculations for us. However, dedicated off camera flash meters start at around £175.00. Not within our remit here. This is one area where chimping comes in and getting to know your equipment will really pay off. We can, with practice, get pretty close to right first time but, with the cost per frame and immediacy of digital, test frames consume not a lot other than a little time.
As we are talking off camera flash we will need some way of triggering the flash off body. Basically there are three ways to do this: Fixed cable (if the flash unit will take that, but most modern ones will); light trigger; wireless trigger.
Wired isn’t much, if indeed any, cheaper at the budget end of the spectrum than wireless. Light triggers (Optical) are built into the front of flash units so enabled and are usually encased in a red plastic cover. These can be triggered by other flashed including on camera flash if you have one built in. Wireless triggers are very popular and even the cheaper ones function pretty well, though it is necessary to maintain a line of site to ensure the flash triggers. The cheaper ones will be more prone to misfire, and will have a limited number of channels they can operate over (usually 4). The more sophisticated units cost more money, are better with weaker signals, can be programmed to fire in zones or sequences, even so there are some good units out there for not a huge amount of money.
As an extra and when you have one, essential, piece of kit to complete this summary, a light stand is a good investment. A light stand will take your flash to a higher angle, usually up to about 9 feet, or just under three meters. This gives us a lot more lighting options.
So how much can we do this for? * At 16th October 2017:
Flash Unit, Amazon Basics (made by Godox) £26.
Neewer Light Modifiers for Flash £46
This is a pretty complete set and a good start. Refer to the Soft and Hard Light modifier links above and note that some of these quality of light is determined by their size. This is a good place to start, but by no means the only place.
Light Stand £13.60 (two for £22 also available)
All in around £95.
Thanks Steve, for the entry point. The rest of us, enjoy.
*There are lights, stands and back drops that members can borrow from the club. See Eddie House.
We were entertained by the members who went on the club run to the Lake District back in May, this week, and certainly, they got a lot of the same views, but they weren’t the same shots. This goes to show the worth of “working the angle” even when you are in wide open spaces populated only by hordes of tourists in large busses on narrow roads. Apparently, our Esteemed Chair indulged his passengers with novel language lessons when these pantechnicons and sundry other road users broke the unwritten etiquette of British roads. An enhanced learning experience all round then.
Now non-landscapers can have rather jaundiced views of those who revel in long walks to nowhere in particular and back carrying kit they end up not using and still not get the shot because the light was “wrong”, but that is to miss the point. Landscape as a discipline brings with it challenges and techniques, not all of them specific to this category of photography, broad as it is and possibly viewed as a subcategory of Nature. There are some car parks with very fine views, after all, and if we can’t actually see any tarmac in the picture …… we get the same view as the previous 100,000 motorists who preceded us. It is, however, our version of it and that, for most amateurs is what counts. It’s our version of Kilroy was here.
Picking not only the vista but having a focal point in it, making the picture about something, is a big step as opposed to ooh-pretty-point-shoot. “Landscape photography is the supreme test of the photographer – and often the supreme disappointment ” according to Ansel Adams. Planning is the key, not only to getting the photograph we want from what is in front of us but in creating further opportunities for us to take. Our aim is to make a picture of one thing in relation to its setting without letting the setting overpower the picture we are looking to frame. That can be done hours/days/weeks/months/years before we leave home, or on-site and in the moment. But taking a short time to really look makes a difference.
In that short time, what we are looking for is composition. There are as many “Rules” of composition as you want. Except rules is a bit misleading as a term. Think of them as tools. The Tools of Composition. Essentially these are ways of guiding the eye to the subject in ways that suggest meaning to the viewer. The question is how we use them together. Quality is better than quantity, you need to be deliberate and you need to be able to work fast and with the light. It is all about the light, regardless of what style of photography you are partaking in. OK photography means, roughly, painting with light, so it’s hardly a surprise.
The best light is at dawn and dusk as far as landscapers are concerned. Low angle soft light in the warm end of the spectrum coming from or moving towards the blues of twilight. The best shooting light is commonly held to be roughly half an hour either side of those two events. That leaves the rest of the day for other things – which probably explains the notion that landscaping is a solitary sort of pursuit. Certainly, it doesn’t necessarily easily fall in with the plans of others.
There are other costs to landscape as you get more into it. A good tripod for one, the reason being minimum ISO’s and small apertures tend to be the order of the day. Marry that with low light levels and we need to be accommodating exposures that are too long to hand hold without showing considerable signs of camera shake. Lenses tend towards a wide/super-wide and medium telephoto – and everything in between and either side depending upon the depth of your pockets and your penchant for collecting expensive pieces of kit. Then there are the filters. At least a circular polarizer. Then there are hard and soft graduated filters for equalising out the light in the sky to that falling on the ground. Investing in a quality set of filters is not cheap, but pays dividends in the quality and clarity of what you are getting. You are, after all, adding glass in front of glass and that will have an effect on quality. And don’t forget a waterproof, solid, comfortable bag to keep all that expensive kit in.
As usual, it isn’t about the kit. As Mike Browne has been known to opine, nobody says to Jamie Oliver or Gordon Ramsey “You must have a really good oven” when enjoying their world-class cuisine. Good photography is the product of practice, knowledge, practice, planning, practice, willingness to learn, practice, a critical eye, practice, hard work and practice. There is also technique, practice, willingness to pushing our limits, practice, getting to know our cameras, lenses and other kit inside out, practice, and practice, but you get the general idea.
It was an entertaining evening, for sure, and we thank our fellow members for their time effort and willingness to share.
It has long been held as true that we know more about space than we do about our oceans. Quite possibly true, though I don’t know how you measure it, what I do know is that club member Julie Kaye’s presentation on underwater photography went down, if you will forgive the unintentional pun, very well. Julie brought her equipment as well as prints of her results and took us through the mechanics, the necessities of adapting the human body and her camera equipment to the realms where no human is naturally equipped but for the very briefest of visits.
The equipment needs are not merely image critical, they are life supporting and diving is a dangerous sport if the basics are not attended to. The conditions under which you are shooting are a challenge too and this is one of the more difficult areas of photography to master. For those of us brought up on the Undersea World of Jacques Cousteau the mysteries of the oceans were a childhood staple.
Possibly most associated by most as branch of travel photography, the underwater milieu goes back to the end of the Nineteenth Century, the first underwater camera and lighting rig was invented by another Frenchman, Louis Marie Auguste Boutan in 1893, when certainly photographs would have been taken but the oldest extant photo of a diver, a selfie by Boutan is dated to 1899 (and apparently damned near killed him through Nitrogen narcosis in the process). The gap is accounted for by Boutan’s work on a lighting solution, a highly explosive mix of oxygen in a barrel and magnesium powder to provide a flash held in a glass container triggered by an electrical current. Remember that film (read glass plate) speed was very low at these times with normal photographs being taken with what we would consider long exposures.
Prior to Boutan, the first person to take photographs whilst submerged, there had been underwater photographs but these had been obtained by using a camera in an almost-waterproof housing lowered on a tripod, was William Thompson, who took them in Dorset in 1856. Unfortunately the glass plates don’t seem to have survived.
Colour came along in 1926, National Geographic staff photographer Charles Martin and naturalist Dr William Longley taking a picture of a Hog Fish in the Gulf of New Mexico for that august journal. Following on in Boutan’s tradition they still executed the image with pounds of explosive magnesium flash powder. The difference was that they sensibly left it floating on the surface in a raft rather than build a submersible flash unit as Boutan had.
Cousteau remains the most famous pioneer though, operating from his famous boat the RV Calypso, which came to near sticky end in Singapore in 1997 but on which restoration work began last year (after a 20 year story worthy of a soap opera), he developed not only Scuba gear but the underwater camera as well. The Calypso, before coming in to Cousteau’s hands, was built as a Minesweeper for the Royal Navy and served as such from 1943 to 1949, then as a ferry in Malta for 4 months before being bought by Thomas Loel Guinness MP and leased by him to Cousteau for one French Franc a year on grounds of anonymity for Loel Guiness. There were, at the time, around a thousand Francs to the pound, so bit of a bargain. For those of us brought up on the TV show (1968-1976 and endless repeats) the Calypso was as much of the show as Cousteau.
Cousteau wasn’t just an explorer (naturalist, conservationist, etc etc), he was an inventor too. He conceived the idea, which was designed by Jean de Wouters, of an underwater camera which was called, wait for it, the Calypso. It came with an f3.5 35mm lens, with 45mm and 28mm optional lenses and a shutter speed of 1/30th to 1/1000th of a second shutter, which was redesigned to a 1/15th to 1/500th of a second range which was the one carried on to the Nikonos, licensed and built by Nikon, through three variants and which lasted in production until from 1963 to 2001. Basically it was killed off by digital but it is still to be found second hand.
Underwater photography is also a sport, not big here, admittedly, under the auspices of CMAS. The World Championships run thus: Basically at least four 90 minute dives (including decompression time) are undertaken and the first 100 images from the relevant memory card are downloaded and then the competitor selects which images go forward to (anonymous) judging. Then it gets complicated: ” During the last day of the competition, the jury will review all submitted images to rank these within the photographic categories described in the Specific Rules. An individual classification will also be compiled by allotting scores to the top ten images in each photographic category using a fibonacci sequence. The names of top ten competitors in the photographic categories and in the individual classification will be publicly announced.” Not so catchy, maybe.
There is a wider range of photographic equipment and accessories available to the modern diver, of course, specialist housing, lighting (non explosive), but all at a price and a half. It has to be precision engineered of course, able to withstand pressure greater than found at sea level and whereas it is popular with people on holiday (who can buy pouches and boxes for their cameras for shallow depths if their camera isn’t already waterproof) who go snorkelling, if you are serious and a scuba diver and a regular photographer, then the outlay garners the returns.
So a big club thank you to Julie for an interesting and unusual evening.
N E X T M E E T I N G
NB: The AGM has been postponed for a couple of weeks, our next session is table top photography so bring cameras, tripods and something small to photograph.
Kev and Rich talking about landscape photography was our last meeting, two of the clubs finest and most experienced landscapers. We all take landscapes, it is hard not to, apart from the obvious fact we live in them to a greater or lesser extent, but to get them just right requires planning, determination and patience. And practice. Lots and lots and lots of practice.
What comes first though? You have to spot the picture. Not everyone sees the subject of a photograph in the tangle of the environment it inhabits. Certainly two photographers can look at the same thing, pick out the same subject and one will think the shot worth taking, the other not. Both are right, at least for them. There can be a lot of stuff going on and as with other forms of photography the first strategy is to tell one story in one picture. This means looking, critically, at what is in front of you. Yes, as often as not a landscape is taken with a wide angle as a telephoto lens, lens choice is not the point, it should be consequent to a decision about how to frame a picture you have in mind. You use whatever you think is necessary, but the absolute basis of landscape as any other form of photography is the composition. You have a frame made by the physical interaction of object, light, glass and sensor size. You control distance, angle, subject focus, depth of field, about the subject itself. You vary these elements to compose your image in the frame and ….. click.
Well, if only it were that simple and of course it is, but it is a lot more than about the mechanics. We are not after the best shutter sound, most satisfying zoom look and feel nor any of the other myriad electro-mechanical marvels that go into making a retrievable image. We are after the essence, the soul of what we have observed in the landscape. We want to ensnare what the poet John Keates observed simply because “A thing of beauty is a joy forever. Full of sweet dreams, and health, and quiet breathing.” It is the sweet dreams, health and quiet breathing that we are trying to capture. Indeed if there is a poem for landscape photographers then Endymion is it. Maybe all photographers.
Waxing lyrical aside, that which we can control in landscape photography is a good deal less than we can control in studio photography. Get up well before dawn, drive to the appointed place safe in the knowledge that the several weather forecasts we have consulted the day before assure us that it will be excellent weather. Trudge for half an hour in the dark: set up camera and tripod; find out that the weather forecasters got it wrong; employ colourful epithets around the possible uses of weather forecasters who can’t; pack up go home; come back tomorrow. Or at sunset. Or buy yourself a 720 nanometer infra red filter and make a day of it (or any other IR filter depending on the number of batteries you have with you and the length of the chapters of the book you are reading when taking 30 minute plus exposures with 900nm filters). Still, as Mr Keats put it: “That, whether there be shine, or gloom o’ercast;/They always must be with us …“. Or maybe not abandon the day? Maybe you should go and look for particular details of interest in themselves, who don’t need the context of the vista to make a story? It won’t be that story, but it will be a story, if only a different one. You could even do your own mini photo-marathon. Always pays to have a foul weather alternative at the very least.
If this is the case it really shouldn’t be by chance. The successful landscape expedition is always going to be at mercy of the weather. So are the unsuccessful ones, but the difference between the two is planning. You may not get what you thought you were going to get but you can get something and this is far more likely to happen if there is a plan in place and, as I always say, if you haven’t got a plan B you haven’t got a plan. As for luck, as we have visited and revisited in this blog, originally from a presentation by Kev and Rich on their first Iceland trip, you make your own.
That doesn’t mean that spontaneity should be crushed in pursuit of the single frame, though at least one speaker we have had over the last year said he tended to relentlessly pursue the single image he has in mind, then pack up and go home. Whereas I admire such tenacity I have to say, where’s the fun in that? There is a middle path here that certainly will yield results. Looking without seeing is the difference between the lay person and the artist, the bloke-with-a-camera from the photographer (regardless of gender). It isn’t about being a professional. A professional gets paid for it. Not all of it, but some of it, enough of it and they make a living, but certainly the some of it good enough, or suitable enough to get published. Composing in the mind’s eye then varying those things we talked about controlling above, and post processing as and if necessary.
The basic rules is the same for landscape composition as it is for everything else we want to take a good photograph of. Reduce the contents of your frame to the absolute minimum. Then reduce it again. What? With a wide angle lens and a huge landscape in front of us? Yes. A single focal point for the eye to rest on. Then the other details in the frame unfold as our eyes are lead from one point to another. The less the competing details the larger the impact. It’s why we fill the frame. All that varying the angle? To avoid the middle and make more use of the space in the frame. Then there are the lead lines, diagonals, to play with perspectives and backgrounds and borders to police for distracting extraneous detail. Above all, have fun.
N E X T M E E T I N G
Week 7 – 13th Oct 2016 19:30 – Guest Speaker: Margaret Collis “Photography For Fun”
Blog has taken a bit of a break these last three weeks – what do you mean you haven’t noticed? – so this week is a little bit of a digest of things that have crossed my viewfinder. Over this period the club has been up to Gloucester for a very pleasant evening and a model photo-shoot around the docks, Bath for stroll around the Royal Crescent and Severn Beach for the sunset. Our thanks also to models Ashleigh Claire, Keith Bristow, Carl Hawkins and Alice Jordan for their endurance and patience at the Gloucester Docks shoot, which from Facebook seems to have generated some interesting shots. Not quite as billed (the theme was originally going to be Victorian) but it was an entertaining evening nonetheless and we had the space largely to ourselves and another photographer and model who were doing a shoot. There was also an American car meet going on and all in all it was an interesting, if slightly humid couple of hours.
But the humidity of Glos. docks was nothing compared to a windless evening in Bath, which seemed to pile heat upon heat. Severn Beach was a little more civilised even if the evening did end in rain. The fact is we don’t very often get extreme weather in this part of the UK, for which we should be grateful, but still half a dozen people have lost their lives on the coasts around the UK in the last ten days or so. In fact the climate and geology of the UK is particularly stable yet still manages a huge variety of land, sea and urban views. But it’s not without its dangers.
One of those is people taking exception to you taking photographs. In this country the level of paranoia around children and photography is on the increase. I met with this some years ago – taking photographs of my own children. Now I am a reasonable man but telling me (wrongly) what I can and can’t do vìz a vìs the photographing of my own children in public, does rather try my patience. It always pays to be polite though and I am sure I was a lot more polite than I seem to remember being.
Scare stories are will always generate interest, trouble is when people act erroneously on them. And, of course, different countries different rules – over the weekend it has emerged that the “Burkini Beach” photographs of the armed French Police enforcing the law have led to the former Mayor threatening the prosecution of social media users sharing pictures of them doing so. Now the reasons for doing so are complicated and the reason for the Burkini ban is tied up to do with the 84 deaths on Bastille Day in the City of Nice, where the photos were taken. The point is, whatever you may think of these rules (a) ignorance is no defence and (b) your opinion of them does not change the law.
So, simply put, find out what these rules are before you take the camera out of its bag and stick with them. This Facebook Page is a good place to start.
On a more cheerful note the 2016-2017 season starts at the club on 1st September and we are kicking off with an event called my summer, where members bring in photographs they have taken over the summer and present them. That’s a sort of hint.
There is a lot on the programme again this year and we urge all members to participate as widely and as often as possible – it’s sort of the whole reason for the club after all. One issue that has arisen and needs addressing. The evenings where we use models on the basis that they get the images we take in return for their time do require that we honour our side of the bargain, whether we as individual photographers, think they are good enough or not. It doesn’t take much time and it is only fair. We can now use the photo entry system so that can be covered among its many other attributes, I believe, as it can be set up relatively easily, so no excuses really. Give up your best three (at least) and let the model worry about whether they are good enough or not.
We are fortunate in having such an active club but we also recognise and welcome new members. There has always been someone around to answer questions and there is quite a breadth and depth across the club and members always seem happy to give freely of their time. Long may it remain so. The programme for September includes: Photo’s we have taken over the summer break; Q and A session; A talk that looks distinctly chilly; and a photo mini marathon, ever popular. That is all in the next five weeks (photo-marathon and photo-marathon judging taking place in consecutive weeks).
So, what is your goal for this season? It’s always a good idea to have and we learn more when we have an idea of what success looks like. It might be to get yourself off auto/programme, not actually sins in themselves but the tool is making decisions for you creatively and artistically. There will be plenty of opportunities within the club schedule to practice that and to ask people about how they do it and why they do it that way. You might want to set yourself a one a day project over 7, 28 or 365 or some other number of days. Or take on some macro or portrait projects, the point is there are lots of opportunities and there is a lot of experience in the club, you can call on. Essentially next season is what you make of it, and the club is what you make of it, the opportunities are there for the taking.