Last meeting was our annual thumbing of the collective nose to Cartier-Bresson’s fear of the contrived, the Creative Round. In that all of photography, from one point of view, is contrived, we can take comfort in a Sontagian view that Photography is a “Promiscuous way of seeing” and here are we. It is also another way to open the arguments between the Get-it-right-in-the-camera-ista’s and Ye-accolytes-of-photoshop, but we won’t.
Congratulations to the winners, (Check out the Facebook page or the website) this in some ways is the hardest round of all to to enter, not least because the definition of what we mean by creative is quite fluid. It stems from an original thought or vision. This gives us less chance to take the image we want by accident, the surrealist streak in photography if you will, as it tends to involve a lot of planning and preparation. The flip side of this is that the deliberation it involves is good for us in all the other forms of photography, because it is a productive habit.
“A skilful photographer can photograph anything well” according to John Szarkowski. So that doesn’t mean just slapping on a filter over an existing photograph and calling it creative, though there is nothing to say that you cannot. Passing a superficial inspection is one thing but the photographs that hold the attention are rarely going to be constructed that way. Skill in photography is as much about practice and deliberation and attitude as it is in any other form. The trick for the hobbyist is not to make it a burden, but to enjoy and enjoy learning.
It’s why having a theme works for our development. Yes it is fun (for us, the rest of the family can feel a little left out) to take a camera everywhere and photograph what takes our fancy or arrests our attention, but when we narrow ourselves down we concentrate on looking, and looking for associations with this idea, which we are using to organise our output. A photograph.
It brings us back to that deliberate frame of mind again. This is also something that helps when we feel that we have plateaued in our development. It can be frustrating to not quite get what we visualised, but also it can be the brain’s way of telling us time to try something different. To create a random element in that, basically to set the challenge, use the theme link above and use this preset random number generator to pick a topic from those 328 themes; get a camera; your least used lens or least used camera even, and get right on it.
There is something to be said in rekindling the simple pleasure of just taking a photograph in a spare five minutes. It can be as simple as arranging things to hand on a desk or a table and practising the basics of composition, because nowhere is boring when you have a camera in your hand.
To give a couple of examples:
Whilst waiting for the potatos to boil I took about four frames of a satsuma and a couple of apples, altered saturation and played a bit with curves and made them presentable if not earth shattering images. Of course, if I wanted to become rich I should have taken photographs of the spuds.
Waiting for a relative to get ready I was struck by the incidental arrangement of my Works ID badge and glasses on a side table. Nudged things around very slightly, took it, cropped it square, painted a bit of blur on it. Quite like it. Doubt I will see it hanging in the Royal Society of Arts any time soon, but hey, I got a small sense of achievement out of it.
Same occasion at the other end of the trip, I was waiting in a coffee shop and set myself the challenge of getting the branded coffee cup and the illuminated sign in the window. A bit of cup shuffling, bit of Dutching (avidly watching all those 60’s Batman shows as a kid finally paying off), applied a saturated, bluish, filter to tone down the harsh lighting, job done. No need to buy a new dickie bow for any award ceremony on its account, but that’s fine. I had observed, visualised, framed, captured and post processed in under two minutes, made a photograph that gave me a small sense of having done something, enjoyed doing it and the result. All this by taking a camera to (some) things that make you go Hmmm.
All these were shot and processed and uploaded to Flickr via my decidedly mid-range mobile phone, which has three times as many pixels as my first digital camera had, two very capable editing apps and a link to the internet, all in something that fits in the palm of my hand. The fact is, for a very high percentage of the day I have access to a camera. Yes I prefer to shoot with my camera body and detachable lenses, yes I can potentially do more with it, but the equipment isn’t the point, making the image is. And no one knows what camera was used and very few actually care.
Restriction is as much an opportunity as a wealth of opportunity. This can be shooting with a different lens or one you don’t use very often, a different camera (including your phone camera if you don’t use it very often) close ups (not necessarily macro), wide angles (making sure to include something in the foreground) there are plenty of variations. A simple one is to deliberately frame a portrait and a landscape version of the same image, being careful to compose the best image in each.
As we gave him the first word we will give him the last, in the interests of symmetry, a noble subject for an image. Henri Cartier-Bresson said of taking a photograph that the thinking should be done before and after the taking of a photograph. Make that gap your Zen Moment. Take that time just to enjoy being a photographer.
Chair’s night and who should we have as Guest speaker? None other than David Bailey, Yeah, you read me right. David Bailey. The David Bailey, you know, the one that used to work at Asda? One of those 164 David Bailey’s who were used by Samsung to promote the NX1000 back in 2012? Being David Bailey and a photographer has been of the occasional advantage, as David outlined, though any namesake can expect to spend a certain part of their waking day in disambiguation. Especially if, at least part of your day, involves doing the same thing.
David’s theme was on the role of serendipity, the happy accident, which we have looked at as a result of the planned and the purposeful pursuit of the photograph. To be sure there were some very specific happen-stances along the way. Like the NX1000 campaign, where he got to meet the most famous of the David Bailey’s and the over the shoulder query on a London bound train, among others. In between there were long periods of learning. Each and every frame is a learning opportunity, if you have the mindset to turn it into one. Each and every frame is a unique fragment of time and geometry. Whether it is the one we were looking for …..
Bailey, as the 60’s trend for one named photographers labelled him, was, and is, by David’s account, a prodigious producer of frames, sometimes only he can see the difference in. There is a difference to be made here between the practised artist looking for what s/he knows is there and the amateur blindly firing off frames in the hope of hitting on something worth keeping. The camera becomes the instrument of discernment when it is in the hands of someone who can use it as a tool to pursue a clear idea relentlessly. The effect of a planned serendipity, the happy accident that comes from being the right person in the right place at the right time, often lies in the fact that the photographer kept on photographing those small differences until the story gelled with the one they had in mind. In this way photography is as much a process of revealing as constructing.
We have previously referred to four kinds of happy accident:
Firstly: that which is just, or seems to be, random “Sheer dumb luck”.
Secondly: chance from purposely acting towards a defined end running out of “Unluck”, you know the sort of thing, entering photos into competitions, getting feedback, putting that into action, where keeping doing things in search of something particular stirs up the creative pot.
Thirdly: chance favouring the prepared mind (“Sagacity“), that is thinking like and acting purposefully as a photographer as opposed to a person with a camera bumping into photo ops.
Fourthly: the sort that comes from being us, our actions, likes and dislikes, or as the great Victorian politician Benjamin Disraeli put it ” We make our fortunes and we call them fate”. (James Austin: Chase Chance and Creativity).
In Austin’s words David was talking about “Chance interacting with creativity”, here through four evolutionary stages from spray and pray to an ingrained, experience and evidence based work flow. This is not exclusively about style. Style will evolve with practice and a critical eye and determine the way that the forces in the happy accident come together. It will also alter subtly over time. It is about persistence an open mind and the habit of looking, really looking, persistence and anticipation. And persistence. It has long been the case that as a brand you hire Bailey because he is Bailey. You get the Bailey style, the Bailey view. More likely you don’t as he doesn’t do commissions these days, but the point is this has taken decades to evolve and it didn’t happen by itself. And it is still happening.
In the second half David moved to wedding photography as an example of a shoot closer to what the rest of us have a concept of, either as the photographer or the subject, major and/or minor, in illustrating chance interacting with creativity.
There is a long list of “Must have” shots in the expectations of clients. These have grown over the years, farmed by fashion magazines, celebrity weddings, the “Wedding industry” as the costs, technicalities and expectations of the exceptional have grown. It is a journey through a very special day and it has a number of moments in it, actually built in it. Yes these will become the prompts for reminiscences, as will the things that went right and wrong, to other events that came before and after. As time passes photographs move from being a record to being a prompt for triggering those memories.
So stiffed backed and formal are the traditional wedding shots that some of them look like they came off a production line and this in part, I suggest, became a driver for what, in some instances, have become full blown, multi-day, intercontinental celebrations. Yet, even if the day runs on the rails that the timetable of essential images suggests, there will be moments of interaction that make each part unique. Those angles, those interactions as things come together or go their separate ways, children/animals going off script, laughter, the unexpected glint of light from the bride’s father’s shotgun.
Now, note, we can get those through any of the four stages above described. The more developed we are, however, in terms of spotting, forming, framing and taking the opportunities presented, the more of them there will be and the more these things will contribute to our style. In short it is our journey from looking to seeing.ai
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.
2017-2018 Season Round One of the Open Competition (DPI) was an evening of considerable variety. The prints will be judged next session. Congratulations to Wendy Goodchild for her winning entry and thanks to our judges, multiple award winning husband and wife team Peter Brisley and Sue O’Connell, who are back next session to judge the prints. We have had to split the judging for this round because of the volume of DPI’s in particular, but the number of print entries, gratifyingly, is also up. Our thanks to our judges for being so accommodating.
What was striking was the variety of subjects and styles on display. This we can take as a good thing because we get to see other people’s interpretations of subjects we have almost certainly chanced our arms at in the past. There is also an advantage, not immediately obvious, in watching our and fellow club members progress over the course of a season. Thinking about what we do is an important part of developing our art. There is a difference between someone who has taken 10,000 photographs and learned from their mistakes and someone who has taken one set of mistakes and repeated them 10,000 times (with several, increasingly expensive, kit upgrades in the interim, no doubt). There is a difference between a photographer and a-bloke-with-a -camera after all. Well, most of the time, if not for everyone and increasingly for next-to-no-money whatsoever.
Yet we cannot get anywhere meaningful without the effort. There really aren’t “bad” cameras anymore. Ditto lenses. This rather points to the photographer as the weak link in the chain. At some point we want to be more than just the button pusher. Creativity requires effort and lots and lots and lots of practice. Not a blinding revelation and not the first time it has been mentioned on this blog, but certainly it is a truth of learning. Anything we learn pretty much follows that pattern. We know this so why not use it?
Critique, like we get in competition rounds, but not exclusively restricted to that, is a good source of fuel for our development. Structured in its delivery and used as a starting point, or rather a restarting point, if we were to take that image and again and apply the observations we have been given, would the image be more effective at relaying its story?
Like or dislike of an image is natural and almost instant. When sorting through a large number of images for editing or weeding a good rule of thumb is if it doesn’t hold your attention for two seconds (or more) bin it. Critiquing requires we go beyond the immediate reaction. Even the most experienced of judges can suffer a failure to understand. A good judge will be honest about this – and we are also our own judges so I am not just talking about club photo competitions – and give us a reason or set of reasons why not. But it will be structured and it will provide information we can consider the next time we have the camera out. The key is the word because. This is, absolutely, the key.
For sure critique needs a framework to be meaningful and for sure it is subjective, but there is no one method, and every time we look at it we take a slightly different path to reflect this. This might give the impression that it is not very effective. Yet no artist ever develops without nurturing one. The same way as having a purpose in taking the pictures we want rather than the pictures that present (that’s not to say we shouldn’t be open to the unexpected) is part of the same process.
Look at the opportunities the club presents. Practicals for sure, are pretty obvious. Ditto the competition rounds. Speakers are a chance to get ideas from, to look for alternatives and also to interact with the material presented, to say I like that because … or I don’t like that because … I would alter that … I will try that … how did they do … Whatever else, you cannot beat a bit of deliberate action.
And take lots of pictures.
And look at lots of pictures. There are plenty of sites on the web to give us ideas. Flickr, 500px and other general sites to more specific and curated ones, like the Magnum Agency and the stock photo sites like iStock or Shutterstock, or social media groups like those to be found on Facebook or sites like Instagram. Look, but look critically.
Mike Martin, a member of Kingswood Photographic Society, and a fine photographer, was our speaker. Happy to be a photographer who shoots with post production in mind and only himself to please, Mike showed us a strong, varied and interesting set of mainly art images, with some interesting detours into other genres.
He never accepts images as they come out of the camera, viewing this as a stop on the way to what he imagined in the first instance. This can mean a long time in post production, but as an unashamed amateur – i.e. he’s not shooting to a deadline and other people’s tastes – this is a luxury he can afford. This is part of a long art photography tradition and now that we have the tools to do things in seconds what it would have taken hours and much coin to achieve – if it could be done at all – for an absolute fraction of the cost.
Although there is much to be said for getting as much right in camera, that is an awful lot easier when starting with the end in mind, in having a strong idea of what the finished product will look like. This may change as you go along but having a defined end usually leads to less time wasting. Not always, but usually.
This is not to say that we shouldn’t experiment or take on new ways of doing adjustments. There is a balance and if we want to learn then making ourselves a little bit uncomfortable by trying new things is going to be an essential part. Looking, emulating, developing, employing is as good a learning cycle as any.
Mike also quoted Henri Cartier Bresson, which we have discussed before: “Sharpness is a bourgeois concept” – that is one that makes the holder appear self important and materialistic, shallow, pretending to be deep, unsophisticated and generally lacking in true class. Certainly it has its place – sharpness is one thing that sells new and ever increasingly expensive lenses. Yes you could back a modern lens against the ones that HCB used pretty much every time in the sharpness stakes, but it’s the brain behind the camera that makes a difference. Mind you context is everything:
“He had his little Leica,” Newton remembers, “and he simply would point and shoot.” Since Cartier-Bresson’s hand isn’t as steady as it used to be, some of the pictures were a bit fuzzy. “Sharpness,” he told Newton, “is a bourgeois concept.” Newton sits back and laughs: “I thought that was just divine.”
Dana Thomas interviewing Helmut Newton, Newsweek, 1 June 2003.
Movement certainly formed part of HBC’s photography, two of his most famous images in particular (“Man jumping over a ladder” and “A man rides his bicycle through the Var department”) and blur is certainly going to feature in that – as opposed to the shaky hand of the nonagenarian, as Newton observed.
So shaky hand blur and motion blur might be two different things. One will happen at some point in an otherwise unsupported situation as shutter speed, that is the length of time the shutter is open, comes down. Lens/sensor stabilisation certainly lowers the point to where such shake becomes evident and it can even be used as a creative effect by giving us time to move the camera around a fixed point or through a plane.
The motion blur we are probably most aware of is the one created by panning with a slow(ish) shutter speed. This keeps our main subject in focus and acceptably sharp but blurs the background. We often see this used in motorsport photography and it is also known as a tracking shot. The flip, of course can also be used, where we use a slow shutter speed with a fixed camera and our subject moves across the frame. So we can freeze or blur our subject to get a different feel of motion. The key to both is shutter speed. It can be achieved with a single strobe, or with mixed lighting, the key to both is synchronising the flash with the second curtain also known as the rear curtain. Essentially this means firing the flash at the beginning or the end of the exposure. The effects are very different
There is another way of using motion blur that you can use with a zoom lens. It’s called, wait for it, zoom blur. Again it really requires a tripod or at least a monopod because we are working with slow shutter speeds, but the mode, shutter, aperture, manual is less relevant. All these effects are relatively easy to use, but, as with everything else, need a little practice to get right. Even then, especially with unpredictable subjects, it is best to plan a series of shots to give you one or two to work with in post – assuming you need to. That said, motion blur is rewarding to play around with the effects and can also be used in the dark!
So an interesting evening that showed many possibilities, the value of forward planning and an artistic vision and not just by adding things in post, but in taking distractions out too. An interesting, varied and singular evening. Our thanks to you, Mike Martin.
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.
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.