Two evenings to get into this weeks blog, member Andro Andrejevic took us on journey through his development as a photographer over the last couple of years and a welcome return for the Wriggly Road Show, for a fascinating hands on meeting.
As well as the club, Andro also belongs to the Dream Team photographers collective, and cited both as playing a roll in his continuing development. The value of having a team and fellow photographers to bounce ideas off (as well as light) has a value and effect of it’s own.
Certainly it was good to see that on the evening of the Wriggly Roadshow club members were interacting not only with the animals (and not just as subjects of a photograph) but with each other. Again, and talking to some of the other members who told me as much, the interaction of ideas and experience proved a strong point of the evening.
But there is one question that arises when we are all taking pictures of the same subject, how do we make ours stand out? This is a question that has broader implications. Somebody decided, on a pretty arbitrary basis I suspect, that the world has 2.6 billion photographers in it based on the number of smart phone users. Now that is a loose definition of “Photographer” extended to anyone with a camera. I would argue for a narrower one.
A photographer is someone with a device, we will call it a camera, with a notion of what they want the image they are creating to look like. Deliberation rather than intent is the difference. Otherwise we are just a person with a camera. A skill set beyond pointing and shooting is required to be a photographer – and that is what we want to be.
There are still a lot of photographers, though. Put several of us together in front of a common subject and the differences are likely to be quite small. There isn’t a point where a certificate is issued declaring us a compentant photographer. There isn’t a set number of likes on Instagram, Facebook or Flickr that qualifies us thus.
And it is not about the kit we use. Another difference comes from coverting another lens, body, light modifier, whatever and making the most of what we have. Yes there are advantages to that but poor composition doesn’t look any better through Canon L glass than it does through a pinhole punched in tin foil and placed on a camera body cap (with a hole drilled in it).
But given similar skill levels, how do we make a difference?
Assuming we all know to take the photo from the subject’s eye level, avoid distracting backgrounds, get close to the subject so as to fill the frame with it, place the subject off centre and so on aren’t we going to get very similar if not identical images? Yes we are.
Therefore, we need to look for other ways to get that moment. Monochrome? Square crop? Composite? These are, for the most part, post production methods but that doesn’t mean that they don’t make part of the decision making process prior to pressing the shutter. Intent, vision, is a big part of making an image.
As individuals with a photogrpahic bent we are drawn to different things in a scene. We frame it, make part of it the focus of the scene, something that, at some level is unique to us, the time, the place and the subject. This uniqueness, this vision is something, that, as creators, we use as the soul, the spirit, that drew is to the scene in the first place.
To use this as a development tool we need to grow our creativity and creativity grows when we are forced to come up with solutions in the face of very limited resources. Such as shooting – people, animals, buildings, nature, shapes, colours, shadows, you name it – as part of a group.
The group is essentially working the same scene. In attempting to make it different, unique, ours, we have to work the angles, make that scarce, fleeting opportunity ours. If we are looking for one thing it’s the quality of light. Photography is all about the light.
Photography is also about doing and doing is the basis of improving, technically and artistically. More important is doing with a purpose. Get out and take some more pictures – it’s what we bought the camera for after all.
And as we are in a photographic club looking at other peoples work isn’t exactly difficult, but we live in a very visual world and to keep critically looking at the many images that are pushed at us daily requires a small but significant shift from being passive viewers to active, critical ones – I like this because …. that works because …. I would change ….
Revisiting our own work and trying a different crop, a vignette, monochrome, harder contrast, soft blur or any other variation is a variation of this, but gives us a better understanding of how we ourselves work and how we might change.
And last if not exactly least we need to take a few chances, even of they mostly turn out to be “Mistakes” because doing the above means that these mistakes are actually learning opportunities, if we let them be and continuous learning is the best way to develop as a photographer.
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.
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.
A new season and so the blog returns from its slumbers. We started with a good spread of photographs taken over the summer and it was good to see so much variety. It is the third year that we have been at the Wicklea Academy and it was good to see so many faces old and new.
The programme is pretty varied this year and our thanks go to the programme team past and present. There is a slight change to the points schedule as far as the competitions go, details on the web site. The focus, as ever, is on personal development and learning as certainly been at the heart of the club for many years. The blog is here to support that, based on what we are doing in the club on that particular week. The competition rounds are a chance to celebrate your journey, get some feedback and pit yourself against others in the club. All of us who have been at the club any length of time has certainly benefited from that cycle and the practical evenings are chances to try something different, to discuss and try things with other photographers. Your level of experience isn’t the issue, everyone has something to bring to each meeting. Your questions count. It does not matter what the kit is you use, its brand, its complexity, nor its popularity, as the club motto says it all: For us, it is the picture, not the camera, that counts.
So let’s start with some questions. The “What camera should I get?” dilemma. Most people have access to a camera via their phone these days, so let’s start with what camera have you got? The reason for this is that the number one equipment related solution is the same with any camera, be it a point and shoot, a camera phone or a full blown professional rig. Get to know your camera. Now, I appreciate the most under read document anyone can ever produce is a user’s manual and the camera on your phone doesn’t come with much of a camera manual anyway, by and large, and camera apps with even less, but ……
Yogi Berra (Baseball player rather than a photographer but that doesn’t alter the point) once said, “If you don’t know where you are going you will probably wind up some place else“. If you just point your camera and blast away regardless of what the settings are you are going to find yourself in a place called Disappointment via the town of Meh. This is what most people do with a camera phone. This is not a question of automatic settings v manual (there is an evening based on that on the programme later in the year). You will have options for light and dark, flash (though that might be stretching the term a bit) maybe HDR (High Dynamic Range), a whole bunch of filters. Put yourself in a well-lit position, preferably with a constant sort of light, a set subject and work your way through them until you have a reasonable understanding of which setting does what. Take notes. Actually, a note book has a place in every photographer’s camera bag.
Learning to be deliberate when taking photographs is the key attitude we need to develop. In order to be effective, we need to develop an appreciation of how things change. How our cameras deal with extremes of light and dark and the bits in between, is a good start. Don’t ignore the programme modes, might also be called scenes, as they give you a clue as to what they do relevant to the cameras basic settings (which together form the Exposure Triangle). Used with a bit of forethought you can use these to get the best out of the lighting conditions you are confronted with – pressing the shutter is not only the last thing you do to take a photograph but also the last thing you consider when taking a photograph.
Something else you can do cheaply is to start looking critically at photographs that you like. Identify what it is you like about them, what story is it telling you? How do the shadows fall? What is the placing of the objects in the frame? Pick one. Go practice getting it right with whatever camera you are using. Make notes. Have fun, you are learning. The point is you are recreating an effect, not copying a picture. By doing this you start on the journey from looking to seeing. As for subject, it may well be probably directly in front of you. The trick is to work the angles, you are not looking for a masterpiece you are looking for the most interesting angle. You can still practice this on your phone, any time you have a working camera on you of whatever type and two minutes to spare. The key take-away, as they like to call it in training programmes, is that this is this is a system and you can practise it with very little indeed.
N E X T M E E T I N G
Members report back from the club trip to the Lake District last May.