Saving our bacon by coming in as a late replacement judge, Beryl Heaton got the Reflex Open Competition 2018-19 underway. The club thanks her for stepping up, even if we did rather make it more difficult than it strictly needed to be!
The entries were as varied as usual and there is a definite benefit to seeing and listening to someone with experience critique work, our own and others. Agreeing or disagreeing is one thing, and we will quite naturally, but analysing why is at the heart of our development.
So it is as much about looking with a purpose as anything else. This is a process that transfers logicically into our practice of taking photographs. We have light falling on a subject within a frame. The trick is to manipulate the elements in that frame into an interesting story.
The minimum we will have in any picture is figure and background (aka figure and ground). This is a psychological principle and describes how we see an object. Reading this we can see the words (figure) against background (the electronic “paper”). We ‘togs think of this as contrast.
Contrast, that which we use to direct the attention of the viewer to our subject, comes in two varieties. Tonal and colour. Tonal is all the shades from absolute black to absolute white. Colour is the way colours interact with each other.
An image that is high contrast has strong black and strong white with little in the way of greys. Low contrast images have very little by way of highlights and shadows. Normal contrast, well, that is somewhere in between. These are an active part of composition.
Composition is the ordering of elements within the frame. Some things are more important than others, they have more gravity and pull our attention towards them, demanding more of our attention. We have a limited amount of attention to pay so will concentrate on what has the most visual weight.
Our brains assign an importance, a weighting, to objects in our frame and this is what we use to our creative advantage. Knowing this we can apply the tools of composition to manipulate this concept of visual weight to maximise the impact of an image by affecting the balance of objects within the frame. As with contrast there are opposites, though these labelled heavy and light so:
LARGER we perceive as HEAVIER. Big we tend to perceive as heavy and more visually dominant.
DARKER we perceive HEAVIER. This is especially the case if the background is generally light.
HIGH CONTRAST we perceive HEAVIER. This is similar to the above principle. A high contrast subject draws attention to itself.
COMPLEX we perceive as HEAVIER. Multiplying something gives it more weight as the brain naturally groups them together making them perceptually larger.
LIGHT COLOUR we perceive as LIGHTER. The less saturated a colour (like sky blue), the less visual weight it has. You need a lot of it to balance out the heavier elements in a scene.
PHYSICALLY HEAVY we perceive HEAVY. Because it is, and we know it, it gets more visual weight too.
INTERESTING PLACEMENT we perceive HEAVY. Objects placed in the corners or on a third yield more visual weight as per the rule of thirds. There is another tool that is related to do with the treatment of what is called negative space.
These observations by themselves need some managing, of course, but the good news is that we can see these effects quite immediately. We need to balance the effects to good use, that is, too much is too much and undermines the overall effect at best and creates a total mess at worst.
The trick is to take an instant to ask ourselves “Does it balance?” before pressing the shutter.
101 Corner – Focusing
If we have anything but a fixed lens on our camera (and even with some that do) we have the capacity (and the need) to use some focusing system or other. It’s all about getting a sharp image.
This can get a little confusing at first because we have Auto Focus and we have Manual Focus and there will be as many opinions as people you ask as to why they choose any particular mode. To make things worse there are usually three different types of autofocus and two different systems to make it work.
Then someone tells us that we absolutely must use back-button focus.
As usual, much of this is hearsay or ignorance. Each of the autofocus options are designed with certain types of shooting in mind. Manual focus is far easier on manual focusing lenses. Autofocus is the one that makes sense most of the time.
The different autofocus modes are: Single frame (one picture then refocus) which suits most stills photographers most of the time; Continuous, used by videographers and when there is a constantly moving subject, such as using burst mode; Automatic where the camera decides which you need (not a feature on all cameras).
Lighting options, from basic budget and food photography after break, special thanks to the ever inventive Ian Coombs for the artistic food plates, and to Myk Garton and Richard Clayton among others for their light tutorials.
The most important thing in photography is light and the best camera for the job is the one you have got on you. Two propositions that in themselves are their own truths. That said the cameras that we have offer us varying degrees of flexibility. Beyond developing us by making us think of the things that we do automatically more deliberately, an effect that quickly wears off, new/new to us equipment is just another way of getting the job done, maybe a little easier.
These days we are as likely, in fact, more than likely, to move from a camera phone to a more traditional form factor – something we think of more as a traditional camera – as a means of getting “better” photographs. Form factor is the physical size and shape of a piece of equipment. These days we think of cameras as being, mostly, hand holdable items. Certainly, when coming from a hand-holdable device like a camera phone, we look to how the camera handles, where the buttons are, weight and heft, balance.
Different formats have different aspect ratios, basically the ratio of the width of the sensor to the height. The 16:9 of our camera phones fits the the aspect ratio of our TV’s. Mirrorless and DSLT APS-C crop sensors are usually 3:2. DSLR’s (and SLR’s) 4:3. That effects how we frame – one isn’t necessarily better than another – because those are the dimensions we are given to work with. Those frames are given and we tend to adapt accordingly. It becomes more evident when we move between formats, such as cropping a 3:2 to a 4:3 competition format, especially for prints.
The sensor size is usually the single biggest factor in overall quality. Not necessarily the number of (fantasies of camera company marketing departments, by and large) but the size and number and layout of the pixels. A phone sensor is approximately 5mm x 3.5mm, a full frame camera 34mm x 24mm. Compacts, Bridge Camera’s, Micro Four Thirds, APS-C come in between. Bigger is generally better.
More complex is the arrangement of knobs, switches and dials, which at best will be software options, more likely not options at all, on a phone. Full manual is a lot easier concept to mount on a larger form factor.
On the flip side pure convenience, connectedness with programmes and channels that enable sharing of pictures, and, not least, portability are on the camera phones side. These days people rarely travel beyond the front door without their phone and therefore a camera. The biggest downside remains those lower quality images, which look fine on a phone screen, probably the most frequently employed method of display.
Although what we see as a “proper” camera these days is subject to change, the fact remains tha the best camera you have is the one you have got, but there is no escaping the fact that cameras still take pictures but photographers make photographs. Make a poor photograph and it will not be improved one iota by how much money was spent and how sophisticated the means of capturing it were. It will remain poor.
Last week we put forward the proposition that light is everything in photography. It is. This, sooner rather than later, leads the photographer to the question of “Settings”. Indeed the more time we spend on the internet the more it would appear that settings are the most important thing in photography. They are not. Light is. This obsession as Mike Browne points out, is nonsense on stilts. Settings do not lead to the picture. The scene, what we are taking the picture of, leads to the settings. The light is what nature or the photographer, makes it (natural/artificial light). Light is everything in photography.
The principles set out using a portrait setup are applicable to everything else. A good way to think about using light is that we are manipulating the direction of light and from that the direction of shadow. The same effects can be replicated using a torch or reading light, LED or other strip light, a flash or a specifically designed lighting rig. A piece of grease proof paper makes a great diffuser. Black card or material makes a good flag. Aluminium foil makes a good reflector. The important thing is to practice. As with last weeks video a simple set up is best. To remove the effect of colour use black and white. Try replicating this short video on your own table top.
Week two, tutorial night with members Richard Clayton and Steve Dyer doing their bit with one light and three light portraiture set ups either side of the break and yours truly trying not to cause too much confusion in a Camera 101 short session for new members and anyone else who was passing that corner of the hall.
So the blog this season will take on a slightly different format, at least between now and Christmas. There will, most weeks, be a second, smaller, thread, dedicated to short observations and exercises aimed at the less experienced members of the club and casual readers/subscribers who want to develop their photography from a fresher perspective.
Both of these threads and all of these blog entries are based on one philosophical observation by Mr Ansel Adams. “You don’t take a photograph, you make a photograph”. To tease that out a bit, there is a difference between taking and making a photograph. Taking here means recording the fall of light on a subject and that is what we see using the three things a camera lets you control. It is what a camera does. Now what we see maybe a possibility within the natural fall of things, indeed will be, but that is more than just a record. We frame and manipulate and the relationships between foreground and background and the objects within that field to make an image which we then take a record of with our camera. More simply cameras take photographs, photographers make photographs.
And in that process light, not the brand or model of camera we bring to the event, nor the accessories bolted to it, no matter how expensive, is everything. Visualising the shot as a product of our imagination and the possibilities of light and shape is where the art lies. The one thing that cannot be taught is the minds ability to see a shot. No amount of knowledge of the arts of composition will overcome brain-wiring. “There is nothing worse than a sharp shot of a fuzzy idea”. Ansel Adams again.
Visualising and pre-visualising a shot (working out what we are going to shoot before we shoot gets more reliable shots than a spray and pray of something vaguely interesting regime) is all work that pays off when it comes to capturing what we see. This is in part because, if we conscientiously practice it, we are attuned to what light is telling us. Light for a photographer works like a plot for an author. It is the key component in telling a story. Typing random words might enable the basis of a plot to take shape, but the author works her/his thoughts and feelings into something someone else might be interested in by applying details and structure. Words by themselves don’t make a novel.
So, light first and last. In between is composition, itself a huge topic the subject of much academic and cultural importance. To a photographer it is the arrangement of the objects in the frame and how they are lit to tell the story. Photographs, by and large, really can only tell one story without becoming confused. Where the brightest light in the frame falls will be where the eye gravitates first. How we arrange the objects in the frame in relation to light and dark determines where the eye goes next. Volumes have been written on the subject and we will revisit it but, at this stage of the club year, I think that the best thing that can be said of them is that they are tools not rules, but they make a difference. One good exercise is to take one and make it an exercise in what I am going to shoot today. It can be fun too.
Light being the starting point end point and everything in between, it is something that we can practice with a minimal amount of equipment and pretty much anywhere. This Mark Wallace video is a good starting point and can be replicated at home regardless of the weather. Try it, the light sources don’t have to be photographic lights or strobes/flash guns/speedlights, it can be desk lamps, torches, LED’s etc. and the effects are even more striking in black and white. Camera doesn’t matter either, your phone will do just as well as a full frame all singing all dancing camera.
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.
Apologies for missing a post, IT problems. Our guest speaker was the always welcome Peter Weaver, who will be returning in a couple of weeks to judge Round 3 of the Open Competition. This was followed by a video tutorial and a table top session. Peter showed us many instances of his own photographic journey and this set me to thinking about one particular aspect which we have talked around but not directly addressed in a while, that of taking pictures of people.
There are many forms this can take from the happy snap via passport style documentary through street to high art. For all of these we are going to use the same basic formula with appropriate, or lack of appropriate, vigour, starting with the background, putting our subject in it, lighting it then recording it. We are speaking generally.
So, background. Avoiding the classic lamp post/tree branch growing out of the subject’s head takes a bit of practice. Border patrol needs to become a habit when our attention is mainly on the subject, but that is easier said than done, especially when we are starting out. Choosing the background against which we will contrast our subject helps in getting this right. Not fool proof, but it works more often than it doesn’t and that little equation can be affected positively by establishing a routine and sticking to it.
Two easy to stick to rules for backgrounds are fill the frame with your subject (goes for all single subject photographs) and blur the rest. In the first of these we can either zoom with the lens or zoom with our feet. Perspective doesn’t change the same way when we zoom with the lens as when we zoom with our feet, as different focal lengths will handle background compression in a different way (sort of, it’s the subject to distance that changes in order to keep the subject the same size in the lens).
Putting the subject into a pre-selected background minimises the chances of there being unintended distractions in frame. Basically, if it doesn’t add to the story you are trying to convey, get rid, either by moving to another location, cropping tighter or changing the angle between lens and subject.
In the studio we might generally light the scene at this stage and refine with the model in it, which is fine where control is total, but we don’t always have this option. In more public and more chaotic situations, “Running and Gunning”, we might need to see what we are lighting first but this is really a personal preference and down to the workflow we adopt – not all workflows are automatically the most efficient but we are after the most effective and that means thinking critically about them from time to time.
Where ambient light is variable it is preferable to put the model in the scene, then light. Variation is part of every point on this process as each time something changes we have a different image and opportunity. Being prepared for the opportunity is a vital step in capturing it.
Posing our model is relative to the formality of the shoot. The corporate head shot is probably the most convention bound of these as portraits of friends informal. Inflation of ego aside, it always amazes me that the item by which their audience is going to judge them most, the corporate mug shot on the annual report, on advertising, on the web, commands such little time in the executive’s “busy” day. Herd instinct aside, the corporate headshot is a very conservative market. Everything can be pre-lit because so very little changes.
Admittedly there are poses to generally avoid because body language is very specific in what it conveys. Posing is also gender specific, at least by convention, so we have the idea of male poses and female poses, which, in actuality, are merely what society expects.
Then the lighting. Lighting is as straight forward or as difficult as you want to make it. Essentially it is the interplay of light and shadow and it is something over which we have varying control over depending on the environment we are shooting in.
A home photo-studio doesn’t have to be expensive to build, and if we start out with flash, as many of us do, then we have a very versatile and portable light source that has many uses, the light from which can be usefully and quite cheaply modified for hard light (grids, snoots, beauty dishes and reflectors) or soft (soft boxes, umbrellas, diffusers and flags). What we get in the studio is control.
Light is by far the biggest factor in any photograph. It’s in the name, as we have discussed before. Its qualities are exactly what we trade in. That balance of light and dark we control has four elements: quality, position, intensity and colour and the modifiers are how we go about it when using artificial lighting or a mix. The portability of modifiers (well the smaller ones, a seven foot octobox may not weigh a lot but the slightest of breezes will turn it into a sail) doesn’t preclude them being used outside (and here).
As, more often than not, we are using a mixture of ambient and boosted light, the options for control are broad. For non-artificial lighting we have the exposure triangle, white balance and filters to affect the look of the light. We have exposure compensation, full manual too.
It is all dependent on the way things are arranged in the frame of course. Composition is no small matter. It is as important as the light, indeed it is at least half of what we do to capture our vision, that thing that grabbed our attention. It’s about making a statement, or taking that statement and making it our own, but remember : “It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are.”
— Paul Caponigro
Pixelsticking, if there is such a word, was our last little venture and thanks to members Rob Dyer and Myk Garton for providing the pieces of kit aforementioned. The pixel stick is a relatively new device, for those of us unfamiliar, that allows the projection of an image across a frame using a long exposure. It is a form of light painting and requires a certain amount of dark in the frame in order to get a long enough exposure and a high contrast.
October 2013 and the Pixelstick was yet another project on Kickstarter a way for pre-designing a light painted image invented by two photographers, Duncan Frazier and Steve McGuigan, and as we saw, the possibilities are almost endless. Frazier and McGuigan’s invention allows not just for sweeps of coloured LED’s to be recorded, but by breaking down image files into 198 x 1 pixel format and displaying them one line at a time any image can be rendered. Each full colour RGB LED in the 198 high (6 foot) stack represents a line when moved across the field of view of the camera lens (utilising anywhere between 1 and all 198 pixels) and combined make for a time lapsed light painted image.
Not that light painting is new. (Time line by light painting photography). The first light painted image on record was taken in 1889, and had the really snappy title of “Pathological walk from in front” (only in French). As such it was a documentary photograph, recording the movement of joints, created by Étienne-Jules Marey and Georges Demeny. Denemy was a student of Marey, when Marey was teaching physiology at the Collége de France. They attached a set of incandescent bulbs to the joints of a subject in the dark and took a long exposure. Long exposures were pretty standard in 1889. Marey also was the first photo-sniper, being the inventor of the chronophotographic gun, and a very great deal more.
The next name in the development of light painting is not a photographer but an early supporter of the Scientific Management movement, you’d probably know it better as Time and Motion, though that was only part of the larger movement, and certainly those of us who engage in any volume of editing in post are aware of the idea of efficient workflow. As with Marey and Demeny Frank Gilbreth Snr used the light painting to study the actions of workers in their work looking for the least effort to produce the most work volume (read profit). He also invented a concrete mixer, but that is by the by.
Perhaps the first name recognisable name to us as photographers to use light painting to effect is that of Man Ray. Man Ray is regarded as a leading figure in the Avant-garde and Dada movements, and he was an extensive, but not exclusive, user of photography in creating his art. He used light painting techniques in a series he called “Space Writing”.
In the 1930’s and 1940’s there were experiments in light painting by artists like Gjon Mili, famous for attaching lights to the boots of ice skaters and his experiments with flash exposures, but most famously in the light paintings executed with Pablo Picasso and Henri Matisse; Barbara Morgan; Jack Delano; and Andreas Feininger. In the 50’s David Potts started moving the camera rather than the subject and explored the use of colour film in what became known as Kinetic Light Painting a.k.a. Camera Painting. George Mathieu, an Abstract Expressionist, used the more traditional method to portray movement for a Japanese magazine cover but his work was mainly as a painter and portraying movement a key feature of that work.
Light painting, then, was something of an oddity, not at all mainstream even though the technique, comparatively, is pretty straight forward. It lurked upon the fringes of photography until the digital age. It starts to look more familiar to us in the 1970’s. David Lebe’s Light Drawings came from his experimentation with pin hole cameras, which capture movement over long periods of time on an essentially still medium. He has an extensive oeuvre in the style. Eric Staller’s work looks like it could be contemporary, many of us have images that look like a Staller, only his were the originals. That said it is David Chamberlain who is the flag bearer in the modern era, being the only artist to exclusively use the techniques of light painting to present his body of work, at least the only one wrooith an extensive reputation. Susan Hilbrand, Jacques Pugin, fill out the cast and into the 80’s artists like Jozef Sedlák, Viki DaSilva, Mike Mandel, Kamil Varga, John Hesketh and Tokihiro Sato show the popularity of such techniques moving towards, if never actually becoming part of, the mainstream of photographic techniques.
But it is simple to do and you can get a lot of very striking images and it engages the imagination. It is a problem solving exercise, as photography is at heart, and it is fun. It is also getting more popular and though the PixelStick is part of that, it is still expensive and in its infancy. Flickr has its small assembly of PixelStick groups, in the wider Light painting communities there are dozens of groups to choose from. Other social media has its fair share too.
It doesn’t take a lot of extra equipment, most of us will have something around the house we can use to get started. It’s one of the more fun aspects of photography, if you haven’t tried it, why not give it a go?
Our thanks to Gerry Painter for a very informative evening, using his photography to show how to play light and dark using a basic home studio. Gerry showed us how to get great results using a sound grasp of how light and flash work, and the basics of posing your subjects for effect.
And it doesn’t have to demand a big budget. There are hacks you can take in order to get the look you want without, necessarily, spending a fortune. You certainly don’t need a full-time studio so you can use flash for portraiture, but a studio does present the peak of the idea of a controlled photographic space. We have touched on this before this season with club member Steve Dyer when we talked about a basic off camera flash set up, and I would suggest that post is worth a re-read from the point of view of building the hardware side. It also links back to two earlier posts, one covering hard and one covering soft light modifiers.
Photographing people is, quite possibly the major part of photography. Certainly, it makes up a large, perhaps the largest, sector of the professional market. What people are paying for is not, necessarily, a straightforward record, but a record of a connection, one that brings out their personality, a fraction of a life, something which speaks of them and of the moment. Even though we live in the age of the selfie there is still a perception that there is something else to be had from the viewpoint of another.
Even so, the motivations behind the selfie, which love it or loathe it are massively the largest by number photographs posted online, 24 billion 2016 according to Google, are not so simple. The motivations for those so bent on broadcasting their lives to the point of dying of it, more people were killed taking selfies than in shark attacks that year, are not just narcissistic.
Within this huge volume, the data for Instagram alone, and what can be derived from it, is far from trivial, there are, apparently, three categories of motivations : Communication – those who want to inititiate conversation; Autobiography – those who are recording key moments in their lives, not necessarily to bait a response, but as a record they can look back on in a handy format; and the smallest of the groups, the Self publicists – those with a personal or professional need to be “out there” and recognised. “It’s a different kind of photography than we’ve ever experienced before” (Steven Holiday, Brigham Young University) important because it is today’s social history for the future. It can also prove expensive, in more ways than one.
Even so, the basic human form hasn’t changed and that means there are more natural and flattering angles than others, and Gerry took us through some of the basics. First off there is not taking pictures square on, something you can sometimes get away with on male subjects, but almost never seem to work with female ones. And there is a big difference to be had through the simple expedient of shifting the by slightly putting one leg slightly forward, shifting your model’s weight and causing an S-curve. Shifting the weight onto the back leg Leaning forward from the waist and raising the chin smoothes lines around the neck and invites the viewer into the picture. For effect this doesn’t have to be exaggerated, indeed it can look slightly comical if it makes the model look overbalanced. This works for male and female models. As does crossing the arms, which with the other moves described, makes the body look more dynamic.
If the model is sitting then the relative height differences are going to become exaggerated and the crops tend to be much tighter. The leaning forward posture still applies otherwise the model looks like they are backing away. Elbows on knees will tilt someone forward and an accompanying tilt of the head makes things much more personable. In all cases, the eyes are the most important point of focus. If there is one other thing that is universal is the general advice that it is better to have the model angle one shoulder towards the camera.
Gerry packed a lot into one evening not least the need for a connection between the model and the photographer, especially with a model who might not be used to having his/her photograph taken. A lot of people don’t like having their photograph taken. A lot of people buy a camera to make sure they are the comfortable side of the lens. Our job is to put them at their ease. This can be easier said than done and the reasons are pretty hard-wired because the thing we as photographers are looking for is the thing we as individuals do not want to give away.
Experience in other fields leads me to believe that the single biggest factor is the attitude of the photographer towards the person being photographed. Put simply, the attitude you give dictates the attitude you get back. If you are wound up and edgy guess what your model is going to pick up on? Give out a “This is going to be a nightmare” and you get a self-fulfilling prophecy. It’s as much to do with what we do before we start shooting as it is during the shoot. It’s about time spent introducing ourselves and what we have in store for our subject. It’s about promoting the shoot as a joint project either side of the lens. It’s about making being the model on a photo-shoot as something enjoyable. You only have to get part of the way to free things up.
On a slightly different note, regular club members will know that Myk Garton last year had a successful exhibition called AS I SEE IT at the Totterdown Canteen (141 Wells Rd Totterdown Bristol BS4 2BU). Myk has got the club a return gig which will be called AS WE SEE IT and photographers within the club have opted to show in the exhibition which will be in May June this year. This is a great opportunity to get and see the club in action. Opening times are 8 a.m. till 3 p.m. seven days a week, More on it as we get closer to the date.