Tagged: sketchbooks

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.