6th September 2018 – Back from the Summer and thinking food.

New season and a full programme to look forward to. We started with an evening of member’s summer photographs and I can honestly say I was delighted that this year that was from half the people in the room. There was a broad variety and a decent standard of photography, meaning that we all had the opportunity to take something new away, from location, angle, technique but above all, lighting. After all light is everything when we are talking about photography.

Looking at other people’s images is a great way to develop our own when we look beyond the initial reaction to what we like, and what we would change about angle, subject, editing – and then go out and try it. it’s called looking critically and it is something that we can all learn to do, but if we don’t apply it it’s just called looking at pictures. Pleasant enough but not what a photographer does. It is what delineates a photographer from a bloke-with-a-camera (or a woman-with-a-camera though the kit-bores I have met have been male universally).

We have a full programme again this year – our thanks to the hard working Programme Team, there is a lot, lot more that goes into it than meets the eye. Next week we are taking a look at food photography (part 1 of 2), and the evening will be split between a tutorial session and a practical after break, or for those who want to get stuck in then the option to start with the practical is there. For those of you who want to get a start then head over to this B&H video on YouTube which covers a lot.

Now that isn’t to say that you are going to walk away an expert, but it does give you a way into something that is easy to practice basic techniques to which you can apply any number of hacks, mods and tricks to get that image you have in your mind’s eye. Like everything else it is down to practice, practice, practice with that critical eye we mentioned above. An important qualification here. Critical does not mean trashing, your own or anyone else’s work. To work it must be open and honest, it is about the image not the photographer and certainly not about the critic’s ego nor the kit the photographer used to take the image.

Psychologists have evolved a thing called the 10 second rule. Negatives are easier for us to process (assuming the best preparing for the worst is as good a description of a balance, but maybe that is just me). Use the sandwich approach. Good-Improve-Good. Each good point we keep in our mind for 10 seconds because our brains seem wired to give more weight to negativity (Rick Hansen memorably uses the analogy “The brain is like Velcro for negative experiences, but Teflon for positive ones”). The 10 second rule balances out this negativity to some degree. The improve section goes along the lines: “The next time I make this photograph I will …”. We can then look for similarities between images and go out and try our remedies and/or new things. That is where a notebook comes in handy.

Taking and making notes is a good development tactic. This can be about the process, the set up, the lighting, the equipment, techniques, general observations and or reminders or even random thoughts generated as a consequence of taking or thinking about a photograph. Artists sketch books are a centuries old idea and they work, whether you consider yourself an artist or not. Photographers are no exception to this. Monographs and sketch books are always a good source of inspiration.

As ever there is the idea of the photographic project. Food is one of course and that is where we will start in the club. Each week of the club calendar is a little project in its own right if we care to make it so. The club, through its Flickr and Facebook accounts is a place where we can get some of the feedback that helps with our development, just post and ask for feedback. Constructive feedback, such as we talked about above, is the fuel for development in any field, photography is no exception.

So, in preparation, we can start reviewing what we have done in our own collections of close up photography, including table top sessions at the club and start thinking about composition in a situation where we control all the elements including the light.

And as we said at the top of this piece, it’s all about light.

30th August 2018 – Cars Seaside Cars

You can’t help but wonder what American cars, especially the classics, now that the laws of physics and the demands of aerodynamics homogenise nearly all cars, would look like if their roads actually had bends and the distances between towns shorter. But road trip is something big within the American cultural psyche and you may as well do that in style. A short trip down the A38 to Colliters Brook Farm in my rather small Toyota wasn’t quite the same – until I got there.

The club outing was to the bi-weekly American classic car meeting at the aforementioned farm, another one of those things that I hadn’t quite got round to taking the camera to – and I am not alone in my guilt there. So two expeditions in three weeks to photo some classic American metal.

Now, professional photographers specialising in motor vehicles do rather have advantages over the amateur on a club night at a social gathering in terms of access, but essentially we are both taking pictures of metal boxes. True, they are, for the most part, desirable metal boxes, but they are metal boxes nonetheless.

As always there are the two extremes, detail and the whole view, and the best image lies within a combination of those two. Location also makes for impact, but when it’s someone else’s car in a static display details are probably going to take up the bulk of the successful shots taken. And car designers take a lot of time in designing those details in, even if the demands of price sensitive mass production hammer the more exotic and difficult to manufacture ones out.

Being shiny metallic and it being evening the best we could hope for was a cloudy sky, or at least a sky with some cloud in it. A polarising filter certainly helps, but lack of one shouldn’t stop you photographing cars or other shiny surfaces, you just have to be a bit more savvy. The reason behind this is reflections and, to some extent with a low sun, shadows. Again we have got two choices, use them or loose them. Both are fine. In the latter case we have the option of using a polarising filter, which will help a lot but not be a total solution. Making a feature of them gives us more scope, it also means that the photographer ends up in more of his/her shots than s/he wished for, but careful use of angles can mute the impact.

As in the last post on portraiture, street and art there are more telling pictures to be had in the details than in worrying about getting the whole thing/person in frame. Those details, the automotive ones I am talking about here, are deliberate and functional, and collectively go into what the whole picture looks like, even if it is increasingly homogenised by the demands of legislation and aero dynamics. It is the details that tell the story often more effectively in photographic terms.

Those details may be manufactured, but detail can also be the difference in a familiar landscape. The more recent outing to Clevedon for sunset shots of the pier demanded exactly that. There is no doubt that the sun going down over the Severn Estuary with the stone beach as foreground and the long span of the pier leading the eye towards the setting sun is an effective and sound, emotive even, scene just right for capture. But it has been done. Many times and whilst it is good to have our own version of this it can look rather like a copy, even though the skies will never be exactly the same in detail, the angle ever so slightly different.

It is one of those shots that is almost a right of passage for any local, budding, landscape photographer. All areas have have them. But how to get more out of that ever changing scene? Different angles, different foregrounds, different areas of interest can make for quite stunning images, but there are always questions of what respects the landscape and what impact the photographer has upon it, especially when everyone is doing it. The general guide lines for landscapers is you leave it as you found it, don’t go gardening nature and claim it as a part of creation. But this maybe a bit narrow. There are other ways to capture an arresting landscape image without the threat of getting arrested. There is even a use, actually a fair number of uses, for that circular polariser again, though it does not have to be screwed on to the lens taking every landscape photograph.

Landscape doesn’t have to mean travelling hundreds of miles to catch the first or last rays of the sun (also some great twilight pictures to be had for the patient and informed), there is plenty of it here in the West Country you can capture in the Golden hour or the Blue. Or switch to black and white and shoot from dawn till dusk. Middle of the day is a great time for infra red too (full and very technical discussion here). You don’t even have to change loction once you have settled on a composition as there is always something going on in it.

And there is always something going on in Reflex. Thursday 6th September is the start of the new season back at the Wicklea Academy in St Annes. If you are in the area why not pop along to our members summertime review?

9th August 2018 – Walk Abouts

It’s been more than a couple of weeks since I last posted. This is because I have been rather busy and I apologise for the omissions. What do you mean by “I hadn’t noticed?”

We are now on the summer break which means we go out to the club to various locations around the city and sometimes outside of it. Next meeting is at Colliters Brook Farm on the A38 between the layby and the golf course just past the Towns Talk and it is American Cars that are the subject of the evening.

We have done two shoots so far in our summer Programme, the first being the M Shed photoshoot (well outside it to be precise) with models from the local area most of whom have worked with the Dream Team that have been blocked about before. Many thanks go out to all those who participated in what was a very successful evening and was generally enjoyed by all I talk to.

Then we went for a stroll around Bedminster (Bristol not New Jersey) which is where the annual Upfest is held which for those of you unfamiliar is an urban art festival using local buildings as canvases around the North East and West Street areas of Bristol. It is Europe’s largest street art festival and it always leaves me astounded at its imagination and its breadth. This was probably the first time in ages I actually took my camera along specifically to make a record and if you can I would suggest that you pay a visit.

Both events have been very successful and we’ve even seen some members we don’t normally see when we go out joining in so that is really good. Our thanks to the Programme Team for putting these things together, A lot of hard work goes into it, and it is appreciated.

At least part of that success for us as individual photographers is turning up to something where, if we don’t know the exact details, at least we know the outline of what is going to happen. This is more important than sometimes people give it credit for, because we have many opportunities that we can shoot, but we don’t always see them when we are not focused.

I forgot who it was said that in Street photography there are two basic methods, fishing and hunting. In fishing, we go select a background and wait patiently for our subject to wander through it and because we already set up to eliminate things like lamp posts bins and what have we that can get in the way, We have a very good chance of getting a memorable photograph. Please may I did not say guaranteed as there are no guarantees. What we can do is eliminate much of the problems we get with clutter and with things like not having level Horizons through the process of pre-planning background.

When learning it is often said that the best way to do this sort of thing in the street is to use the fishing method. That is not to say that the Hunting method, where one goes around with the intention of seeking out subjects and prizing them out of their every day with the lens, is better or worse. It is the result that counts. Sorting out the background is a basic skill for any photographer who wants to progress, “Border Patrol” as it is sometimes called. This is because there is a difference between looking and seeing. But what we are hunting and fishing for is light. What we need to be looking for are the things that will draw the viewers attention to what we want to capture in the frame.

The hunting method is often seen as a more aggressive of the two and saying that there can be problems with permission and people leaping out with wide angle lenses to poke in the faces of and promoting reactions from startled passers-by, but this is very much in the minority. Could also get us locked up in some countries. Then “Easy ain’t worth nothing”.

So if we started out taking photographs of models and street art why are we talking about street photography? Basically, because we have to remember, if we are not going to miss some interesting things that we could possibly capture, we need to be aware of our surroundings. People will, in urban situations, be part of the scene. We need to see the opportunities before they turn into something we can capture that has something to say. But we need to be aware of that one detail that we need to tell the story. A photograph can only tell one story, our job is to make it a strong one. It is as much about what we leave out as keep in.

Happy hunting.

21st June 2018 – Dream Team

The presentation this week was by club members who are also members of the “Dream Team” which was started by former Reflex member Tony Cooney, who gave an excellent talk to the club on his time serving in Iraq at the beginning of this season. The Dream Team is a collective of models, M.U.A’s (Make Up Artists) and photographers, some of whom are also Reflex members, who meet once a month to shoot in a variety of venues on a given theme.

This links well into next weeks reflection on how the club has affected two members photography, because one of the ways that we improve is to get ideas and feedback from other photographers. Now it is a fact of life that some people are thin skinned and others immune to the criticism of others and it is also a fact that we are more likely to listen to positive criticism, of which there are two sorts. There is that which is founded in reason, and when reasons are given then we can learn and there is that which is founded on prejudice, the one and only way.

The first of these is worth listening to the latter is, largely, just somebody telling you at length that they did not take this photograph. That which is founded on experience and an open mind may be just as subjective as that which is founded in ego but is by far the more useful of the pair. If there is some form of standardisation to the process then there is a basis for a shared understanding. Mix this with practice (and make it fun) and we get somewhere on the road to results.

The Dream Team’s wide ranging interests and themes and the interconnectedness of the various art forms involved make for something much bigger in the end. Any fool can press a shutter button, daub their body in some paint and gurn at a camera, but that whole Gestalt thing is vastly different when specialists come together to produce a result outside their individual discipline. The inter-connectedness of those disciplines and the imaginations of the people involved make for something much larger.

There is a scientific basis to this, according to research at Stanford University that looked into the difference between finding our passion and developing one. It concluded that being told to find our passion maybe well intended but ultimately it is misplaced advice.

In the short term to find our passion we must go looking for it, for sure. In so doing we create deliberate actions and with such purpose comes results. In the short term, the very act of looking opens up our minds to new opportunities. Open up our minds to new opportunities and we open up ourselves to creative possibilities. Open up ourselves to creative possibilities and we may find our passion. It is what comes next that is critical for development of that passion.

It is the relaxing bit that comes with having found our true passion in life that does the damage. The comfort food of “True Passion” turns sour – maybe it’s our true yoghurt – when it comes to the hard bits. First off, in relative ignorance, we can kid ourselves that we are quite good at this thing, and that we have got it cracked. This is the brain looking for time off and we will get stuck there if we don’t become critical of our own work – creatively critical that is.

Learning by looking at the greats is as old as art itself. Photography is no exception. You can look at your Irving Penn, Henri Cartier-Bresson, Ansel Adams, Annie Leibovitz, David Bailey, Weegee, David Hockney, Martin Parr, Richard Avendon, Robert Capa, Diane Arbus, Alfred Stieglitz, Man Ray, Edward Weston make the list as long as you like, with the internet it can be done. Look at what they have published and have some sort of framework to go by BUT, we are not going to be them. Their time and pathway are different to ours, as well as their artistic sensibilities, no matter how much we admire them. What do we learn from what they see?

The point about that is that it is a great way to learn technique. It’s a great way to set ourselves challenges and that is where finding and developing take separate paths. If we go the development route we are much more likely to stick with it and to use the challenges and frustrations as spurs rather than drift way from something we found.

Collaborative working, under the right sort of atmosphere, is a great way of developing. Knowing the direction we are going in, or want to go in, forces us into certain choices. Again these are better if they are deliberate choices. The biggest factor in this is having somewhere there is a free flow of ideas and an informal collective can be a very good framework for that, especially when ideas are coming in from different disciplines.

Get this bit right and the way that the team works becomes more flexible and responsive to the overall goal – everybody is ending up with some great shots to add to their portfolio. Because there was time and effort put in then the capacity to use these skills, set ups, lighting, composition tools and so on again, under different challenges, adds to not just the photographers, skill sets.

When taking photographs of people, which the Dream Team essentially is, it can seem that it is the photographer who is doing the final work. OK the MUA’s/hairdressers/ got the subject’s look ready, which determines a successful outcome by altering and enhancing where light, shade and attention will fall, and the models give the look, clothes, posture and attitude, but it’s the tog who is determining the final composition. Sort of. Really it is the photographer who has the greatest opportunity to foul everything up and the easiest way to do that is not to take efforts with the other people in the process.

Essentially the photographer has to give credence to the fact that successful photographs of people are not taken they are given. It is a collaborative process.

14th June 2018 – Roy Jacobson On Wildlife and Aeroplanes

You know you can make a great landscape even better by having something animate in it. Like wildlife. Our latest speaker, Roy Jacobson CPAGB, showed us that patience, knowledge and persistence certainly pay off when you put the fauna in the flora. And aeroplanes too, though they are better in the sky. In both cases fortune favours the prepared.

Wildlife photography isn’t all about safaris in Namibia (I wouldn’t turn one down if anyone is offering a free one), it can be found much closer to home, like in your garden or local park. The key is to start small, get to know your kit really, really well, and know, I mean really know, your location and the sort of wildlife it attracts and when it attracts it.

Whereas there is definitely a case for having a 600mm telephoto in your bag when photographing shy or skittish animals, your back and your wallet will not thank you for it after lugging it around for the day. And that’s before we even consider the stuffed ant eater or who owns the copyright when the wildlife presses the shutter release. Start with the kit you have, was Roy’s advice and find somewhere local.

We have, of course, the benefit of Slimbridge under an hour away, if birds are your chosen subject, and it is set out for walking and observation. Roy suggested picking a spot and sticking with it, rather than wandering around and looking for something to happen. When it does happen it tends to happen quickly and be over just as quick: feeding, fighting, preening, breeding, taking to wing, coming into land or some other photo opportunity.

Much, as has been said already, is down to being prepared. As movement is going to be a big factor in most of the (airborne) shots then a fast shutter speed is going to be necessary, starting at around 1/1000th. To facilitate this it is probably best to select shutter priority/auto ISO and let the camera pick the aperture. Focal length is probably going to be long, metering and focus turned to spot (though that is questionable if you are composing on the thirds) continuous autofocus (depending on age and speed of your system), motor drive as we used to call it on as we are going to be shooting in bursts.

We might also use a monopod or tripod and if we have saved our pennies or do a lot of this sort of photography, maybe use a gimbal on the tripod. The problem quickly becomes how much gear do we want to lug around? How much can we practically use even, or especially, in an urban environment? Well, the happy medium is our own to find and is going to be dictated by subject, location and environment.

Birds aren’t the only option, of course. There are larger animals in most urban areas. Locally we have many different parks in which foxes can be seen with a little patience. There are two deer herds (Fallow and Red) at Ashton Court, the Red, in particular, are used to people being around, as are the grey squirrels around Cabot Tower on Brandon Hill if you get bored with shooting the Peregrine Falcons down by the River. There are plenty of pigeons and gulls to practice on whilst you wait. There are also some quite rare species of bird to be found (depending on the time of year) at the Arnos Vale cemetery as well as bats and foxes and badgers.

Now aeroplanes in flight that is a completely different matter. Actually only completely different from the earth-bound subjects as far as the mechanics go. Generally, aircraft are far more predictable than wild-life, especially at air displays (Weston Air Day this Saturday and Sunday by the way) through knowledge of the behaviour of each still sets the photographer in better stead.

The basics are exactly the same, fast shutter speed, single point meter and (possibly) focus. Don’t be afraid to boost the ISO and shoot Raw as we are probably going to see a fair whack of dynamic range within the frame, especially if the aircraft is dark and the sky bright.

In the stands at air shows, you will often see a forest of tripods and monopods. There are issues with doing this. The Mono/tripod will cut down on the flexibility that we have to move and pan. There can also be safety issues, especially when shooting around other ‘Togs using similar set-ups in relatively tight spaces. Better tuck your arms into your chest, deep breath and brace, takes more practice but it gives us more manoeuvrability and there is less gear to carry.

Air displays have a defined centre and also defined edges. If we know where these are (in front of where the crowds are thickest, basically) then we have the chance to hit peak action (centre) but at the edges is where the aircraft will turn in. Here we can get some great shots that aren’t aircraft flying straight and level.

And it takes practice, practice, practice, like any other form of photography. Above all it’s fun and there is a great deal of fun to be had and a great deal to learn and maybe profit from.

7th June 2018 – Critiquing the W.C.P.F. Travelling Exhibition and Evolving a Style

The WCPF travelling critique was our last evening, and as ever there is something to be got out of sitting down and critically discussing the works of other photographers, especially if we then extend that to our own work. Some photographers get too caught up in the notions of developing a style or shooting a particular way thinking that their body of work will evolve through consistency alone.

That is like braking going uphill, sometimes it is necessary, but it involves a great deal of wasted energy. It is understandable though when the idea that photographic style is a filter we apply to an image. No this is not an anti-Instagram rant, and if that sounds like something we use to combat the symptoms of hay fever then now is an opportunity to catch up by clicking here.

But Instagram is a good place to start. Kevin Systrom, who was a co-founder of Instagram and who did very nicely, thank you, when it was sold to Facebook, had the idea seeded for the app when a Professor in Italy introduced him to the Holga camera, a cheap everything-you-pay-thousands-for-your-glass-not-to-do sort of camera that produces very retro looking pictures on 120 roll film. But that quirkiness actually forms the basis of the Holga’s modern-day appeal and yes, you can get filters to modify your everything-you-pay-thousands-for-your-glass-not-to-do to do Holga-esque images, just make sure you are well braced when you do because the weight of the irony of that is going to hit your wallet pretty hard.

The fact is film had/has its own look. Each brand would have their own unique ways of capturing and processing the light. Just in slide film: Kodachrome went through several “looks” over its life; Fuji was noted for its blue tones; Agfa was something else again; ditto Scotch, the list goes on.

Then there are/were the options/limitations in printing. Papers, inks, chemicals, sizes, frames, viewing options and conditions all have an impact. What they cannot do, however, is cover for lousy composition. Poor lighting. Wrong exposure. Unengaged subject. Surely filters / looks / processes / post-production can lend atmosphere to an image but unless the style is “Never mind the quality feel the width” they are not going to do much for our artistic integrity.

What we are looking for is a quality of the imagination, showing our individuality by drawing with light (Greek: photo – light graphy from graphe making lines or as we would call it, drawing). Style in the literary sense is about how the tools of language, clauses, spelling, grammar, punctuation and the like are put together to make an impression on the reader. We use light and shadow, directionality, the tools of composition and a photosensitive surface capable of recording the fall of light and dark on a subject in the same way. We fashion a statement on a subject.

What other people are doing is a start, but it is only a start. Copying what others have done, making a re-interpretation of something that has gone before, making our own statement, is a great way to learn but it is a means to an end. However, it is not the reason we pick up the camera (at least before we disappear up our own dirt pipes like the voice over on any given perfume advert). Understanding the technicalities by replicating the image is a learning tool, not an end in itself.

That said there is a notion that we can move between taking snapshots to making photographs. In so doing we develop, through habit, a photographic style. Whether it is a conscious statement or not. Perhaps we keep making the same mistakes, is that a style? Broadly yes but it is the elimination of the incidental and replacing it with the deliberate that makes a difference. It is that interpretation that is the seedbed of the individual’s style. That is when we start bothering less about what everyone else is doing.

Defining our style is one thing. Refining it is something else. Technical skills matter, you have to be able to apply the rules before you can start breaking them successfully. Purpose is the key. And lots of lots of practice. Lots and lots and lots.

Longtime sufferers of this blog will know that the world is divided into two. The Get-It-Right-In-The-Camera-istas and Ye-Accolytes-Of-Photoshop. I err towards the former, but that is a personal thing. The fact is we need skills in both, but that we are probably better at one than the other.

That said there is a lot of time effort and money to be spared in getting the thing you have in your head onto your computer file (that is what we are creating until the image is printed) in as close to finished form as we can in the place where most of the important elements and all the results of those irreparable decisions are made. The camera. Just don’t let it get in the way.

Having the camera and lighting skills gives us the option to manipulate what we see in the fashion we want it seen. Post-production then tidies up and polishes. That sequence is the one that lets our style evolve and show through. Is it the only way? I doubt it. Having the confidence in using the materials we have to hand to make our statement makes for a stronger more assured one. When the “rules” are broken it is to a deliberate effect. Style thus evolves through confidence.

31st May 2018 – Spotlight On Portraiture

Our thanks to all those involved in setting up the portrait areas on Thursday night, in particular to members Steve Dyer, Gerry Painter and Myk Garton. Also thanks to our models Melisa Wright, Helen Morgan-Rogers and Bethany.

Portrait photography or portraiture in photography is a photograph of a person or group of people that captures the personality of the subject by using effective lighting, backdrops, and poses”. Wikipedia

The key phrase there is “Effective lighting”. Yes the pose matters and yes the backdrop or background matters, but the lighting has to be effective too, it is the biggest single factor. Let us dig into this a little bit further.

All photography is about the fall of light on a subject, I know. We are here weekly (more or less) in this blog. We are here every time we push the shutter button, for good or otherwise.

Effective – having an expected or intended outcome; producing a strong emotion or response. So, we are talking about lighting that does as we designed it to do and in so doing produce a strong emotion or response in the viewer. Or as we have said (frequently) always start with the end in mind.

This is easier in the studio than outdoors and in fully candid photography a.k.a. Street. It is true that beggars can’t be choosers, but this merely underscores the importance of picking the background first then letting subjects pass through it. Obviously we have to mindful of the fall of light and, if shadows are part of the composition, the dynamic range that we are asking our cameras to deal with. What we want to avoid is the background swamping the subject to we end up with unintended under or over exposure.

Outdoors we need to be more mindful of natural reflectors and flags, that is light sources and environmental shadows rather than the ones we create for the purpose of getting an acceptable shot. Again, putting ourselves in the optimal position and waiting for the subject or scout and bring your model along on the live shoot.

With the studio, as we had in the hall, then the preparation is just as important. For those of us new to it, on a restricted budget, or just casual studio portraitists one light can be used. Grids, beauty dishes and soft boxes can be improvised. Cheap versions can also be sourced (e.g. Grids, beauty dishes and/or softboxes / diffusers) but if we are going to use them often then we are better off on paying for more robust versions.

Poses are as established as any other part of art and the symbolism and interpretations that the idea of the pose creates are based on, or at least can be based on, the assertion that body language accounts for 55% of the communication between two or more actors. A photograph takes out the verbal and the wordage, the other 45%, and in doing so makes the visual element more important, makes the subject’s form and shape the only. So far so obvious, but the human body can express so much with just a few small adjustments.

There are differences in posing men and in posing women, based in culturally based perceptions of masculinity and femininity. As ever practice makes perfect and preferably with the same subjects. Posing in itself is a big subject, but in essence it is a form of composition, or at least a branch thereof. Mastering the art is still 90% perspiration and 10% inspiration, and as ever, having the end in mind when we start can help us immeasurably.

There are any number of poses that work, but the pose itself may break an image but it is not going to make an image. The eyes have it. Engagement between the subject and the viewer make the image, the rest of the subjects body, that is that of it which is visible in the image. This goes for any pose, and any gender and age.

In putting these three essentials, light, background and pose, together meaningfully lies the art of photographing people. And here we are talking the difference between grabbing a picture and making a photograph, between reciting the alphabet of buttons on our camera body and writing with light. It doesn’t have to be complicated, though that won’t stop people trying to make it so. It is about two (or more) humans communicating to a common purpose. Even so it has its own grammar.

It is worth repeating that the image that works most effectively is the one that is the product of the photographers craft, not their camera’s algorithms. As was once said of the example of the great American Jazz player, John Coltrane, their “Must be a priority of integrity, honesty, decency, and mastery of craft” (Cornel West).

I think the same can be said of portrait photography, whatever its form.