We did Programme as a camera setting back last November, when an alarming number of members were convinced that Elephants were a European phenomena (you had to be there), possibly confusing them (the pachiderms) with Mammoths, possibly from remembering seeing them at the zoo. This meeting it was the turn of the rest of the dial and no such confusion reigned thanks to the scholarly efforts of Chris Harvey, Gerry Painter, Steve Hallam, Eddie House and Simon Caplan. Between them they had manipulation of the exposure triangle well and truly nailed.
And if we nail the exposure triangle we have the control of light within our grasp. The other thing we need to have control of is what is acceptably sharp in the picture, a function of lens aperture and shutter speed moderated by the selected ISO setting. With these two things nailed in under ten minutes we are a photographer! Our position in the Point and Shoot Pantheon is but a matter of time!
Ah but …. these are the mechanical issues of image capture. Often photographers are as interested in the settings a frame was taken at as the content and whereas they are the key mechanical elements in capturing the image we are viewing they are actually a long, long way down the list of priorities in making a good, bad or outstanding one.
Unless our job is making, marketing and or selling cameras for a living.
The reasons are thus: to plagiarise that image you have to be in the same place, at the same angle, in the same light, focused in the same manner, with the same connection to the same elements within the frame, and using the same size sensor. Even then all you have done is copy. The only thing worth copying is the look and that can be as much about post processing as image capture these days. The valid reason for copying a look is to learn about photography by applying it to other opportunities. The camera settings represent one choice from a multiplicity of options to arrive at the same amount of light captured.
Let’s put it this way: ISO 100, F8, at 1/125th second gathers as much light as ISO 400, F11, at 1/250th of a second, gathers as much light as ISO 1600, F4, at 1/8000th of a second gathers as much light as ISO 200, F32 at 1/15th second. What alters is the depth of field and the relative degree of that in these examples would depend on sensor/film size. This other variable is why we refer to crop factors compared to the old film size “full frame” 35mm standard (so that those of us set in our ways can get a handle on the perspective generated by a given focal length) and perspective is relative, he wrote with entirely deliberate ambiguity.
As we have been plugging the last few weeks rather heavily – and in every blog published for the club, regardless of author – the issue of absolute prime importance is composition. Yes we have to get the mechanicals “right” for the image we have visualised but that will not arrest the attention of our viewer nearly as much as the arrangement of the elements in the frame. The legendary crime/street photographer Weegee, coined the phrase “F8 and be there” when asked what was the secret to success in his photography. Weege used a Speed Graphic 4 x 5 inch camera and a flash bulb for illumination. The point is, know our equipment and how it gets us the results we visualised. To be fare some people ascribe the quote to Robert Kappa but the point remains the same. Being there means we get the chance to get the picture the f stop is only of relevance If you have the camera with you.
Now, we can argue what being there actually implies. and the list would probably be quite lengthy. Most photography to do lists seem to end up that way. Some people even write books about it. Reading photography books is a very good idea, but putting the ideas we draw from them to use is even more productive. Knowing what camera settings other people use can be informative, knowing the performance limitations of our own camera gives us the confidence to experiment. In fact, it could be argued, there are two sorts of photographers who are happy about using Auto/Programme settings. Those who are just starting out and those who are confident enough in their use of the camera to know what it is going to do and when and under what conditions we might have to over ride or compensate. And that leaves us to concentrate on visualisation and composition, which is where the art is coming from.
Most photographers, however, set their cameras to aperture priority and leave them there to control the depth of field. Which is fine. So is shutter priority to control blur. So is manual to control everything, though as a permanent setting does rather slow things down – which can be the point. Auto/Programme is fine. Find one that works for you and use the others to play to their strengths.
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 ….
Happy New Year and we celebrated our return with a well attended evening of table top photography – next week we show the results. This is a good entry point to the year, it’s practical so we get to see and do with others and exchange ideas, but also it is something that we can exercise (more or less) total control over. Yes it might not be our “thing”, yes in the hall we are at the mercy of the overhead lighting and others waiting their turn (on occasion) but the opportunity is the thing.
The fact is we can, with very little resource, replicate these moments and use them to our advantage. Find an object – betting the house is full of them. It doesn’t matter what particularly, but, to start with, one that isn’t too shiny, so as we avoid bright spots (specularity) where light sources are reflected in the objects surfaces and not too big – it’s called table top for a reason. This can be controlled but we will come back to that presently.
For lights we have torches, they don’t have to be big and powerful (actually something of a disadvantage at close quarters). Some wire twists and something that will be stable when we attach the torch(es) to it as a light stand (or co-opt a friend or relative). Some plain paper to use as a diffuser and Christmas having just passed some coloured sweet wrappers for gels. If we want we can construct yourself a makeshift light box out of an old cardboard box and some grease proof paper, though there are even more minimalist options we can take. We can use tin foil and black card for reflectors and flags. Ladies and gentlemen I give you your complete photographic studio in miniature!
So it’s an entertaining way to pass an evening, useful if we are selling small things on line and we can learn quite a bit about product shots in the process. But it also has other, practical, training uses. It doesn’t make a difference how experienced we are there is always a value to practicing, especially if it is on a subject we don’t usually do. Photography, as David Bailey once pointed out, involves dealing with what is there, photographers don’t enjoy the luxury fine artists have in that anything inconvenient in the scene just doesn’t make it onto the canvas.
We have to deal with what is in front of us. The studio is the closest we will ever get to that situation, in miniature or otherwise, being places we put things in rather than take things out. Being a photographer is about having an idea of an image and working with tools we have or can find to work towards what we visualised. Yes I know, that doesn’t really apply to street (actually is does but that is for another time) or at least some forms of street photography. Oh, OK, spray and pray, but like I said, that is for another time.
Perhaps the greatest part of this is that we can go through the whole process from visualisation to capturing an image effectively and quickly. And then we can go through the variations of the set up in order to experiment and learn. Starting with a blank canvas, the light tent is exactly that, we can populate, arrange and light our little stories from scratch. It is a great way to practice basic lighting skills, pretty much for free. In fact thinking of the exercise of placing shapes in relation to each other in a way that gets the attention and lighting it is pretty much the basic definition of photography. Everything we do in these little vignettes can be scaled up. They are good fun and good practise.
There is more good practice to be had in controlling light angles too. We mentioned specularity above, basically unwanted reflections. The solutions are straight forward enough and apply to other photographic situations too. Basic rule of reflections is that the angle of incidence equals the angle of reflection. What that means for us is that to avoid glare from a shiny object we don’t need the light source and the camera to be facing the same way. Frame with the camera and then move the light around till the glare disappears. Start at 45 degrees to the camera, you should be plumb in what is known as the family of angles.
Constant lights are more convenient here but if we use flash and have triggers so we can use them off camera and using test frames and, of course, knowing the rule of reflection, we know where not to place the lighting in relation to the camera, so that is a start. You don’t necessarily have to have triggers though. The rest of the solution isn’t complicated and if we use a “big” light source, say from a large soft box then the problem goes away. Don’t have a soft box? A light tent is one answer (basically a multidirectional diffuser). No? A piece of white card to use as a reflector, shoot with the camera facing the card, that will effectively diffuse the light.
Finally shadows are just as interesting, if not more so on occasion, and balancing out light and shadow is the root of generating mood in a shot. This is done with what are known as flags. They are used a lot in cinematography and videography. They are also used in product photography. Using them in a table top situation means that DIY options are easily available.
So, on these cold and dark evenings there is something to try out.
The Wriggly Road Show slithered, scuttled and strutted into town and a fascinating and interactive show it was. Snakes, lizards, crabs, albino rats and hedgehogs formed the cast and many thousands of frames were burned in a very enjoyable practical evening.
Perhaps the key to photographing animals, both wild and domesticated, lies in reconnaissance, having knowledge either direct or through an expert at hand. The latter was definitely the case in our session, given the exotic nature of the animals Wriggly Road Show brought with them. The welfare of the animals (and the photographers) is paramount and what may appear to be innocuous behaviour to the untrained eye could be stressful for the animal. There is a balance to be struck and if we believe the maxim that if your photograph isn’t good enough it’s because you are not close enough (Robert Capa) then there is an indicator to be had about choice of lens. However, that is a function of the environment that the animal is in and the size of the animal itself, as much as anything else.
Photographing domestic pets successfully is a different proposition to photographing large animals on a farm, is different from taking pictures of animals on safari (that’s the photographer being on safari rather than an alligator with a DSLR). Any way that you want to cut it animals are most likely going to be more work than your average subject. Cats and dogs may be the most frequently photographed animals (and certainly they take up a fair amount of space on Flickr, about 2.8m and 2.1m respectively) but they are also creatures with their own minds and curiosity.
I was shooting either in Handheld Twilight mode (Multi-frame at ISO 6400, wide fixed aperture, variable shutter speed) or aperture priority and auto ISO, plus some with fill in flash from the camera. Direct flash is rarely a good option, risking as it does red eye, and being generally unflattering, but needs must. I do not pretend I know what I was doing but the decisions were actually driven by the conditions.
Two positions were well lit, the others were more reliant on the ambient light. The animals were fairly static, none of them particularly quick even when mobile (having been fed), so moderately slow shutter speeds and moderate apertures with high ISO’s (1000 – 6400) did the job mainly with longer focal lengths. No chances to pan whilst shooting, no need to. From the look of most of the results I got I think I was concentrating more on the camera than the subject for some of them. That is sure sign of being short on practice. On the other hand it does not pay to be stingy on the number of frames that we commit to in pursuit of the shot we want.
Metering, especially the insects, where I was using fill in flash, was quite tricky and I found I was dialling in quite a bit of compensation. Fur is always interesting to get a reasonable meter reading from, tending to be either darker or lighter than the average for the environment the animal is being photographed. Spot or centre weighted metering, when metering from the camera, is probably preferred in these sorts of situations, but if shooting against backdrops it pays to be aware of how they will appear in the shot. Getting right at the point of taking the shot saves time in post production.
Focusing again depends on our subject, more specifically the speed it is moving across the frame, but also whether you are up close or standing back. Single shot, by and large is good enough close up because focus won’t shift that much and the shutter won’t fire till focus locks. A dog bouncing through the long grass is probably a candidate for Continuous AF and we live with the out of focus shots to get to the one or two for which the focus is bang on.
None of which will counter poor composition. The eyes have it, just as with people portraits. Viewers will seek the eyes first. We take our clues from the perceived expressions and the eyes are the windows of the soul, after all. Knowing the animal, having a rapport with it, are not necessarily the same things. Your pet snake will act differently to your pet dog, though both will have ways of attracting and directing their attention. It is also important not to stress the animal. The usual tools of composition can be applied, just getting there involves subjects who may be less predictable than a landscaper or a portrait photographer, or the yet-to-make-up-their-mind-ographer might be used to.
Here we can just scratch the surface, the tools we develop as we gain experience are mostly relevant, but as ever an ounce of practice is worth a pound of theory (kilogram and kilo translations also apply) and the Wriggly Road Show certainly provided us with that.
Monochrome and lessons in depth of field as we split the room between practical and tutorial this last session and I must say it worked rather well. Both the choices of colour and the application of depth of field are creative decisions, they convey subtleties of look and feel, they speak as much to meaning as they do they do to composition.
Timely indeed as there has recently been evidence published that rather challenges the conventional wisdom of how we look at a photograph. Logically paintings, etchings drawings etc too, but this is a camera club so we will stick to talking about photographs. At the outset I have to say that this research doesn’t present a new way of perceiving how we look at images, how photographers perceive their images, but it does present evidence to support some photographers way of looking at their art. “We are making photographs to understand what our lives mean to us” wrote Ralph Hattersley so maybe it isn’t such a stretch to suggest that meaning is our primary guide when we look at a photograph. Similarly Don McCullin feels that “Photography for me 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,” and Wynn Bullock “When I photograph, what I’m really doing is seeking answers to things.” Well you get the idea.
Of course we all spend a lot of time discussing whether it is “Visual salience based on semantically uninterpreted image features [that] plays the critical causal role in attentional guidance, with knowledge and meaning playing a secondary or modulatory role [or it is] … meaning [that] plays the dominant role in guiding human attention through scenes”. Not … but ….
Let’s think for a moment about the way we are lead to judge photographs when we start taking photography more seriously, especially when we start talking about conventions used in competitions.
Very basically we photograph to capture a relationship between and impact of objects, subject and space arranged within a frame to tell a story. When we looked at critiquing images last season we talked about the considering initial impact an image has on us before moving on to: considering the story it is telling us; the technical issues such as light, focus, foreign objects, crop, exposure, saturation; then considering the technical details like composition, colour and subject matter before using all these as evidence to come to a reasoned conclusion.
It isn’t the only way but its consistent application, when applied across a range of photographs makes it clear how to go about improving our own. It is a good habit to get into, if nothing else to make your efforts clear to yourself and to spot areas you can work on. It’s also worth keeping a record.
Not too much of a leap to say that we, as photographers, already think that we look for impact (meaning), first, then for the prominent features (salience), because emotion is what we are trying to stir in our audiences. For sure that is going to be variable, but if we put consideration into what and how we photograph then we can make then we have the makings of a story.
Then we have the many and varied tools of composition. We have discussed before why tools not rules, but basically it is do with the selection of techniques to emphasise the point of our story, rather than a must comply with. You can get one story per frame for the sake of impact. Split the audience’s attention between two focal points of equal weight and you risk halving the impact of the image. Restrict the impact and you restrict the meaning and we, according to this study, are suckers for meaning.
So composition is one way we can get meaning into our images. With human subjects we can also do much by our interaction between photographer and model and leave the camera out of the interaction as much as possible. This is our chance to explore character. Too many photographers let the camera come in between them and their subject. Time spent building that relationship, even with a model you know is time well spent. Use the camera as unobtrusively as possible, get them to focus on the brand label on the camera body rather than the unblinking eye of the lens, which can be intimidating. Candid photographs have their own power and their own techniques.
Someone, and I cannot remember who, once said that we should consider the background then put the subject in it. That makes sense when we want to cut out distractions. It also makes sense when we have a striking background and can reference our subjects within it. There is a difference between the background as backdrop and the background as distraction. Dramatic scenes, interesting lighting, like the light of early evening or early morning, add to the meaning by adding qualities of light or drama for us to place our subjects in an interesting part of the frame all. These things can be ways of adding meaning to our images as long as we practice, practice, practice and practice with a critical eye.
Club evenings with cameras are always popular and always a good opportunity to gain knowledge and practice the basics, or try something a little different. Last meeting was no exception as we undertook an evening of tabletop photography, for which the club is grateful for all those who put a lot of effort into making the evening a success.
Theses themed evenings aren’t just about the theme and or subject. They are a chance to get the most out of a controlled situation, specifically, at least for our purposes this week, the chance to work a subject. Now working the scene, or a variation of it, is a phrase that often bandied about.
Sooner rather than later you will come across Henri Cartier-Bresson and the idea of the decisive moment, and certainly in any scene that involves movement there is, or will be a combination of the elements in the frame for which their interplay makes the full story. Is it the same with table top/still life? Essentially yes, but the control in the frame is pretty much absolute and the truth in the frame may be entirely documentary or an arrangement of light on shape in some artistically pleasing manner. The chaos of everyday life is excluded in pursuit of control either way.
So what do we mean by working the scene? Cartier-Bresson didn’t just take one photograph of a scene, even if the first one was the one he ended up using. Nor anyone else. Closer, further away, left, right, up, down all realign the elements, the task is then to isolate the best image to work with.
With table top, though, there isn’t necessarily a lot of room to work with, nonetheless it is still worth the effort. Whether you change the camera angle or the arrangement of the items you are photographing you can still affect the same sort of ends. The end result, the one you show, is then more likely to be better at communicating with your audience because it is the end result of a process.
There is also a question, further prompted by the idea of the end result, of whether you can do this moving around in time. If your intent is to capture something that has to be constructed before you take a picture of the end result, why not photograph that construction? It could well be that the image that you end up keeping is one that shows all the elements but not the whole. That whole is then constructed in the mind of the viewer.
The whole point is that of collecting data deliberately. From this data we then make a story. Changing the angle/distance/perspective creates a pause and in that pause we can process the data we have collected. We can turn these to our own advantage with a little pre planning. Whilst framing the image we can be critical of what we are looking at, now that we have put a physical frame around it.
Put simply we start seeing when we stop looking. Look is the hook, the thing that caught our eye, the draw in. Seeing takes a lot more effort and experimentation, but seeing is the essence of photography. It also means that we can practice this, using table top, at home, through experimentation and starting with the tools of composition. Two to start with, I suggest are light and dark and lines.
Light and dark in its purest form, black-white (the Japanese Notan art form for instance) or at the least two complimentary colours. Contrast is what the eye, rather like the autofocus on our cameras, looks for, so as to make things clear. Use this as a key to where the light falls and with a little practice we can make powerful yet subtle ways that take the eyes of the viewer to where the photographer wants them.
Lines are, possibly, less subtle but no less powerful for that. We are largely familiar with the concept of leading lines whether we are conscious of their effect or not. Anyone who has seen white lines on tarmac will have been affected by it. Anyone who has ever followed a path will have been effected by it. By getting close, looking for the key detail, we better frame the thing that attracted us in the first place.
There are of course a myriad of other compositional tools we can use, we can practice. Composition is just a way of seeing in one sense. In a more useful sense it is a deliberate way of seeing. We need to practice with deliberation. Stuck for something to do? Then pick one of these compositional tools and use it to go shoot. The table top environment allows us to experiment in these cases by arranging the elements in our frame to our own ends. In other environments we have to look for the chances to capture these things on a more random basis, but in doing so we have to abandon looking for seeing.
N E X T M E E T I NG
Annual General Meeting.
Henri Cartier-Bresson once said that “Sharpness is a bourgeois concept”. A bourgeois concept is one that makes the holder appear self important and materialistic, shallow, pretending to be deep, unsophisticated and generally lacking in true class. He never once won a club competition round thinking like that. He did co-found the rather classy Magnum photo agency though, which he described as “…. A community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.” Well he would say that, I mean, not even a commended? Obviously a case of if you can’t join them beat them.
Our last session on the endlessly fascinating light painting and the impromptu follow up at Abbots Pool on Sunday techniques set me to thinking about this. Not particularly to bourgeois concepts, you understand, but how the technique generally requires stripping the camera electronics to the basics, especially when not combining any ambient light. Full manual set on a tripod and long exposures, at least we can sympathise with a William Fox-Talbot or a Roger Fenton, though we still have it a lot easier. Equipment is smaller and lighter, we can get, with digital at least, instant review and no messing about with chemicals – though that is a different kind of fun in itself.
We are still paying attention to the same basics then. Pre-focussing the lens in the general area of the soon to be action is more guess work than we are used to with auto-focus but we still have to maintain a level of sharpness. What we don’t want is our lenses hunting for a spot with sufficient contrast to lock on to. Most of the time it’s not going to find one in the dark. So, manual focus it is on two grounds. Most people at Abbots Pool seemed to be shooting towards the end at F10, yours truly, different as ever at F8 (actually from aquick excif check it was F8 all night), but that might be the difference in using an SLT camera as opposed to a DSLR. We want our images to retain the lines and patterns in what is technically known as an acceptable circle of confusion. Basically a zone of focus we register as “sharp”.
Shutter speed. Bulb is the order of the day with light painting, at least in the conditions we were shooting in at club and at Abbots Pool. If we are shooting traffic in town in order to capture the light trails then we are probably looking at somewhere between 6 to 10 seconds as a start point (again at F8, maybe F11) but that is just to find a base line. Similarly we would want to keep a constant aperture and most likely exposure time if we were painting a large object with a single light source (and that would be across frames).
The usual advice for a sharp picture is to use the reciprocal of the focal length, so a 50mm lens would suggest 1/50th of second minimum, a 210mm lens 1/250th. Theoretically at least. However this rule of thumb (tool) has been around a long time. Certainly on a full frame 35mm camera with no vibration reduction then it’s no bad way to go. However, should we lengthen the time by 1.5x or 1.6x to account for an APS-C lens? 2x for a Micro Four Thirds? And how much do we need with VR built in and turned on? Firstly that full frame thing is a bit of a false lead. As magnification increases the degree of movement needed to register as blur decreases. Magnification does not change with sensor size, the field (and depth) of view does (and low light capabilities and quality given the same number of photo-sites – or pixels as they are commonly called – and the relative numbers on the exposure triangle).Think of it as Width not depth, you won’t go far wrong. Practically, by the way, if it’s too big to see in the viewfinder, it aint gonna fit on the sensor. Secondly VR does allow us to lower shutter speed but how much depends upon the individual and the situation.
But hey, we are on bulb (shutter stays open as long as the shutter mechanism is activated), so all that doesn’t matter. And if we are on bulb then we are on a tripod or the camera is stabilised by some other means like a bean bag or a wall etc. The bulb by the way comes from the history of photography as it was a rubber bulb shaped object used to fire the trigger. As long as it was depressed (squeezed) the shutter mechanism remained open. Sound familiar? There is some question as to whether the VR should be turned off on tripod, I have never had to and I have VR on both my camera body and my main lens. Other people have and it has made a difference. Test it and find out for your camera. Then move on.
Shooting RAW or JPEG is a personal choice, get those things above right then it doesn’t matter. If you want or need to do a lot of playing around with colour channels, contrast etc then RAW is better. Otherwise do not fret. Fretting about RAW or JPEG is probably a bourgeois concept. Arguing about it rather than taking pictures is definitely a bourgeois concept. Move on.
Composition still counts. When in doubt about the area that is going to be used to complete the picture go wide and crop in post. You can take things out, you can’t put things in that you haven’t got a record for. Generally with the sort of light painting we were doing then going wide was not a bad strategy.
Post production is certainly a matter of personal taste. It can be fun to play around with effects and balances but, by and large, we don’t want it to look over processed. Unless we do. That’s why it’s a matter of personal taste. Printing your results though means that we are going to want as much colour space as we can get to reproduce the tones and subtleties of colour. sRGB is best for monitors, so we need to make allowances for this.
It doesn’t have to be complex, it gets better with practice and it is fun. Get out there and try some.
N E X T M E E T I N G
Speaker – Welcome to my outdoor office – Stephen Spraggon