We were entertained by the members who went on the club run to the Lake District back in May, this week, and certainly, they got a lot of the same views, but they weren’t the same shots. This goes to show the worth of “working the angle” even when you are in wide open spaces populated only by hordes of tourists in large busses on narrow roads. Apparently, our Esteemed Chair indulged his passengers with novel language lessons when these pantechnicons and sundry other road users broke the unwritten etiquette of British roads. An enhanced learning experience all round then.
Now non-landscapers can have rather jaundiced views of those who revel in long walks to nowhere in particular and back carrying kit they end up not using and still not get the shot because the light was “wrong”, but that is to miss the point. Landscape as a discipline brings with it challenges and techniques, not all of them specific to this category of photography, broad as it is and possibly viewed as a subcategory of Nature. There are some car parks with very fine views, after all, and if we can’t actually see any tarmac in the picture …… we get the same view as the previous 100,000 motorists who preceded us. It is, however, our version of it and that, for most amateurs is what counts. It’s our version of Kilroy was here.
Picking not only the vista but having a focal point in it, making the picture about something, is a big step as opposed to ooh-pretty-point-shoot. “Landscape photography is the supreme test of the photographer – and often the supreme disappointment ” according to Ansel Adams. Planning is the key, not only to getting the photograph we want from what is in front of us but in creating further opportunities for us to take. Our aim is to make a picture of one thing in relation to its setting without letting the setting overpower the picture we are looking to frame. That can be done hours/days/weeks/months/years before we leave home, or on-site and in the moment. But taking a short time to really look makes a difference.
In that short time, what we are looking for is composition. There are as many “Rules” of composition as you want. Except rules is a bit misleading as a term. Think of them as tools. The Tools of Composition. Essentially these are ways of guiding the eye to the subject in ways that suggest meaning to the viewer. The question is how we use them together. Quality is better than quantity, you need to be deliberate and you need to be able to work fast and with the light. It is all about the light, regardless of what style of photography you are partaking in. OK photography means, roughly, painting with light, so it’s hardly a surprise.
The best light is at dawn and dusk as far as landscapers are concerned. Low angle soft light in the warm end of the spectrum coming from or moving towards the blues of twilight. The best shooting light is commonly held to be roughly half an hour either side of those two events. That leaves the rest of the day for other things – which probably explains the notion that landscaping is a solitary sort of pursuit. Certainly, it doesn’t necessarily easily fall in with the plans of others.
There are other costs to landscape as you get more into it. A good tripod for one, the reason being minimum ISO’s and small apertures tend to be the order of the day. Marry that with low light levels and we need to be accommodating exposures that are too long to hand hold without showing considerable signs of camera shake. Lenses tend towards a wide/super-wide and medium telephoto – and everything in between and either side depending upon the depth of your pockets and your penchant for collecting expensive pieces of kit. Then there are the filters. At least a circular polarizer. Then there are hard and soft graduated filters for equalising out the light in the sky to that falling on the ground. Investing in a quality set of filters is not cheap, but pays dividends in the quality and clarity of what you are getting. You are, after all, adding glass in front of glass and that will have an effect on quality. And don’t forget a waterproof, solid, comfortable bag to keep all that expensive kit in.
As usual, it isn’t about the kit. As Mike Browne has been known to opine, nobody says to Jamie Oliver or Gordon Ramsey “You must have a really good oven” when enjoying their world-class cuisine. Good photography is the product of practice, knowledge, practice, planning, practice, willingness to learn, practice, a critical eye, practice, hard work and practice. There is also technique, practice, willingness to pushing our limits, practice, getting to know our cameras, lenses and other kit inside out, practice, and practice, but you get the general idea.
It was an entertaining evening, for sure, and we thank our fellow members for their time effort and willingness to share.
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.
Our speaker this week was Richard Price talking on the very small and the infinite (at least the bit of it we can see) – Macro to Astro. As ever a hugely informative and accessible evening given to a packed hall.
When talking Macro (on a ratio of reproduction to actual size of the subject of 1:1 or greater) we will be including what is close up photography too as there is a technical difference but not, as far as next meetings practical is concerned, no difference worth the time.
These are both areas of photography that appear complicated but, whilst demanding, they can be easily accessed. And they are both absorbing aspects of photography and being both accessible and demanding they teach us a lot about our equipment and how light works with it. It also tells us a lot about our kit and can involve finding work arounds. For instance my manufacturers own 50mm lens will not work on anything but manual and with the depth of field preview button held down with my extension rings. My third party lenses work just fine. Took a while to work out how to get the nifty to work, but it was worth the effort. With a mirrorless camera like mine the DOF preview button is usually redundant -what you see in the view finder is exactly what you get as an image. Only it isn’t redundant at all and I am rather glad it’s there.
Of course, how near/far you want to go is a matter of budget but only really at the extremes. You can get some perfectly acceptable macro shots with a kit lens and a reversing ring (about £7 for a 52mm filter – size it’s written on the front of your lens, in the case of our 52mm example as Ø52). You can also use a coupling ring to reverse one and add another lens to it to make a longer focal length and a greater degree of magnification. In both case it might be advisable to take any UV filters you have off the end of the lens.
The next option Rich gave us was using screw in filters (lenses) of varying dioptres. These are available for around £15 (and upwards depending on filter size), but as with everything else you get what you pay for. Essentially these are like reading glasses for your lens, they are lenses that fit on the end of lenses. If you buy them for the largest filter size you have in your range of lenses you can buy a set of step down rings to fit them to your smaller filter sizes (usually for around £5).
Extension tubes, moving the lens away from the focal plane foreshortening its focusing capacity, use no intermediary glass at all, so there is no risk of flare or softening enhanced by putting more barriers between subject and sensor. By shortening that distance a degree of magnification results by getting closer to the subject. This is generally a more expensive route than the two previously discussed. this is because a certain amount of electronic communication has to be allowed for in the design of the tubes and this complicates the manufacturing process making it more expensive. It isn’t always effective either (see example given above) and work rounds result. However, the more you pay, generally, the more you get in terms of functionality and performance, though this is not an absolute guide.
Finally there is the most expensive option, the dedicated macro lens. Without a doubt this is the higher performer when it comes to producing quality of images in terms of sharpness and contrast, and without a doubt. But all that comes at a cost and even the cheapest all manual lenses cost several hundred pounds. Whichever route we go, macro/close up photography can be done anywhere and relatively easily and cheaply. One extra technique that might help is Focus Stacking. It can be done in Photoshop, as per the link, but failing that you might want to try CombineZP which is free and simple to use.
Now focus stacking as a technique makes a good link to the second half of our evening, Astro-photography. The reason being that photo stacking is an often used technique when taking photographs of the stars. It’s not an absolute requirement, though, and the basics are relatively straightforward. Rich recommended using StarStax, which is freeware, as you were wondering and developed with astro-photography in mind. But we get a little ahead of ourselves.
Dark areas in the UK are few and far between. Light pollution is a serious problem, not just for photographers but for wild life too, in our rather crowded island. Even in designated Dark Areas there are problems at the extremities where towns and villages emit a glow low on the horizon. So it takes some work.
The pollution part is best thought of as the light you would eliminate if you could. The night sky isn’t black, the horizon is always discernible. The sky itself is also quite bright. If we are trying to record as much detail as possible (known as Deep Sky astrophotography) we are going to be fighting the noise generated by the sensor of the camera, especially at higher ISO’s but even at the lowest setting because where there is a signal there will be noise. If we treat the sky as black either by exposing or reducing it to black in post production then the fainter details are going to get lost. The point is the sky isn’t really black, it’s closer to a dirty orange colour. Because of the light pollution and the reflective nature of Earth’s atmosphere.
We can get round this in post by adjusting levels, picking the darkest part of our image as a start point with the eye dropper and adjusting the levels. It’s a matter of trial and error really. As is white balance. Regardless, this will all be a matter of trial and mostly error at the beginning and that is actually part of the fun. Learning new techniques like this means we learn more about the competencies and capabilities of our equipment and allows us to do more things with it.
Our thanks again to Richard and good luck as he takes this and his other presentations on the road.
N E X T M E E T I NG
Macro and close up practical evening. Bring cameras tripods and that reversing ring you just ordered off Amazon.
Last meeting we were entertained by Kingswood Club Members Sue and Richard Winkworth and their tales of Myanmar (you may know it as Burma) in a presentation entitled “The Road to Mandalay” and yes after the song. Their trip was undertaken at a time when tourists were rare (it only opened up to Tourism in 2012 after 50 years of a military dictatorship) which presented both opportunities and challenges. 2016 the number of tourist arrivals was around 5 million, in a country of 54 million people. That’s roughly the size of Spain and Portugal combined. Last year Spain had 75 million visitors and Portugal 60 million, to give it some context.
The most striking thing to me was the quality of the light, which was very soft, making things look like the entire enterprise was shot on Kodachrome. The relative lack of industrialisation and the control of population around some of the shrines (limiting wood smoke from cooking and heating) made for lower levels of air pollution beyond the dust that is inevitably kicked up (even though those glorious sunsets are made from reflections of particles in the atmosphere).
The other thing that struck me from the map they showed us was the number of straight lines denoting boarders. Those boarders are entirely artificial, nature, after all abhors a straight line (William Kent circa 1685 – 1748). Well apart from crystals. Many of the pictures Sue and Richard took were in Shan Land, for instance, which boarders Laos and Thailand and the tribal boundaries are certainly different to the political ones. Now these might not be things that trouble the average tourist taking pictures, but a little local knowledge goes a long way.
Travel photography is big business, but it is a big business that is very, very, crowded these days. There was a distinction at one time between the professional and the amateur that could easily be defined by the fact that the professional took for and sold to the print media and when established made a regular income from commissions. Then the World Wide Web and traditional print industries got a pounding from which they are still diminishing. This coincided with the world opening up, air travel in particular became a lot cheaper and more opportunities arose. These days travel photographers make money from a wide variety of sources, indeed have to as revenue streams tend to be small and varied.
Most of us though are not in the business of travel photography. Yes we travel (and that can mean going to the next town or village) and yes we take photographs. Yes we combine the two. When we are photographing in our own region then the general way people behave when there is a camera is about is generally accepted and generally adhered to. Travel just the other side of the channel to France and the privacy laws, even in public places, are a lot more complicated.
So what amateurs and professionals alike do have in common is the attitude towards the subject. You can buy photographic workshops in exotic places by run by professional photographers (just because they are doesn’t mean they can) and the better ones do a lot to make sure that you come back with those iconic shots. That takes a lot of time, knowledge and investment and that is what you are paying, usually quite large amounts for. I have experience of one of these with French Photographic Holidays a couple of years back and it was enormous fun, the food was excellent and I learned a lot. A good experience. In France, it is relatively easy to take pictures of people and places, despite what I wrote above unless and until someone decides you have breached their privacy, which it is almost impossible not to.
Basically you are required to get someone’s permission before you take their picture. Then, if you want to publish it in any way you have to ask their permission for each specific usage. Any object that is created by or is the copyright of an artist, or designer, similarly requires permissions to be published in each specific context. Anyone who owns a property can assert rights of ownership of property and the photographer needs permission to publish. There is no “Freedom of panorama” as such, though that is coming under EU law, so it does not matter if you took that photograph from public or private property.
Then there is the situation in general. If someone objects you delete the image. It is not practical to get the permission of every architect of every building in shot permission. Generally people don’t and the architects don’t sue. But they could and you have to be mindful.
In Saudi Arabia you do not take pictures of women in the street. Full stop. Other pictures depend on where you are. Jeddah, for instance, is more easy going about these things than say Riyadh. In Dubai, which is much, much more western tourist oriented, along the picturesque creek there is a Naval base on the wall of which, in letter about six feet high, it says No Photography. Upsetting men with guns is never a good idea. You do not take photographs of the Naval base. The rest of the creek, fine.
These are examples of the conditions imposed. Then there are the conditions we as photographers impose. The attitude you give dictates the attitude you get back. A simple nod with the camera usually will tell you if your intended subject accepts having their photo taken. A smile and a thank you afterwards also helps. You will see trains of photographers in the more common tourist destinations on photographic tours and it is interesting, even when the scene has been deliberately set up with models, how many bother to say thank you, as if the fact that they have paid to be here yields entitlement.
You can draw up your own list of Do’s and Don’ts from yours and others experiences, both behavioural and technical. Personally I always learn how to say three things in the local language. The first is “Please”. The second is “Thank you”. The third is “I am not mad, I am British”. They all work.
We have had Round 4 of the ROC (see website for results) and a presentation by the Dream Team which both show what you can do with a bit of application – and a lot of planning. So, is there a magic formula to improving as a photographer?
The simple answer is “No”. Anybody trying to sell you an alternative is peddling snake oil and the likelihood of success is about the same, though that wouldn’t stop them claiming any advances as proof positive.
The “Through hard work” answer is a partial truth, there is no denying that application is part of it, but a Protestant Work Ethic alone isn’t going to affect the desired outcome. After all if you just do what you have always done, you are going to get what you have always got, as someone, maybe Henry Ford, or was it Mark Twain? Could have been Albert Einstein, or somebody else, once said. And there is truth in it. But not the whole truth.
Direction comes into it. “If you don’t know where you’re going, you’ll wind up somewhere else”. That was Yogi Berra, and yes we’ve used it before. Direction and hard work, we are starting to get somewhere. The right direction and hard work. The work might be hard but it doesn’t have to be unenjoyable. Rewarding, directed, hard work. The reward and how hard we work for it are linked are for sure. Nothing quite gives us a lift as an image that comes out as we saw it.
None of this, otherwise sound, advice gives us a point to start from. Again there is an obvious but not very helpful answer to this. We can only start from where we are. “I wouldn’t be starting from here” said the eponymous Irishman when asked for directions, and I know what he meant. The first job, then, is to decide where we are.
And this involves looking, but looking with a purpose, looking critically at what we are doing and finding some photographers whose work we admire and practising (here’s a start if you need one, but it is just a start) what we like in their photo’s. Join sites like Flickr (the club has its own page, put some contributions up) or 500px where you can build galleries of your own favourites and try doing your own versions of them. Keep experimenting around a theme and you will start to see some improvements as long as you apply a critical eye to the results.
If we want a starting point then we could do worse than take Robert Capa’s dictum that “If your photograph isn’t good enough then you aren’t close enough”. A photograph tells one story well and cropping in on the essential detail leaves less room for confusion. It doesn’t matter whether you zoom with your lens or zoom with your feet (there are differences but they are subtle, real but not really for today’s argument, and all to do with perspective) but it can have an effect, will have an effect.
We are aiming to tell a story with a single detail. When we are looking at our scene through our viewfinder our mission is to find the detail that makes a difference. That can be a look, the curve of a line, the repetition of pattern, a contrast in colours, or something else. There will have been a something though, and that something is the thing that caught our attention. This is when working the scene comes into its own. This works whether we set out to take a particular picture or are just wandering through the landscape looking for inspiration. Once we find the something, the key, we can use it to unlock the potential in something that has taken our attention.
Or as Aristotle sort of put it, we start seeing when we stop looking. Technically it is known as Inattentional Blindness, and happens when we exceed the processing speed and capacity of our brains. We can use this to our own advantage by letting go of putting everything into context and just following the things that catch our attention (paying due consideration to our own and others Health and Safety of course). Basically our brain is trying to tell us something, so shut up and listen.
And the best camera settings for that? Three options. The camera decides, you decide or something in the middle. Most photographers go for something in the middle. Essentially we are playing with the exposure triangle and the notion that the best that our camera will produce is a combination of shutter speed, aperture and ISO according to the prevailing light conditions. You deciding is full manual. This is a preference, rarely a necessity, but it is worth learning because it teaches you about how your camera captures light and the worth of capturing light and shadow.
The other two options are let the camera decide, “P” or “Auto”, or something in between, shutter priority, aperture priority, exposure compensation. Full on auto will get you an acceptable picture most of the time, after all camera companies spend an awful lot of money on researching these things and writing algorithms to match. But it can be fooled. The in between range from scene selection where you alter the elements of the exposure triangle by selecting the symbol closest to the conditions you are shooting in, to setting the importance of the aperture or shutter relative to the ISO you are using. Control is what you are opting for or out of in various degrees. Most “Serious” photographers seem to shoot in aperture priority if that is any guide because that gives the most direct control over depth of field without having to fiddle with the other two sides of the triangle.
There is no right side, there are preferred sides there are sides that make certain situations easier. The fact is that, as a hobby, we have the luxury of having the time to play, experiment and fail a lot on our way to getting better. Joining a Photography club or an active photography interest group is part of that.
N E X T M E E T I N G
1st June 2017 19:30 – Guest Speaker: Sue Winkworth: “On The Road To Mandalay.”
(Deadline for John Hankin and Stan Scantlebury shield entries)
This week we had a speaker, Matt Bigwood, photojournalist for sixteen years on the Gloucester regional press and a freelance for very nearly as long who took us on the transition from mainly monochromatic film through to full colour digital and along with it the death of the profession of employed photojournalist. It is, as they say, what it is. Very little point in being overly nostalgic about it, film is now a hobby, an artistic statement, a curiosity or a course of academic study and digital is all.
Some of the effect of that we discussed in the last post. There is no denying that digital has made photography more accessible. A double edge sword that has proved to be as unsettling in its own world as any other technological “disruption” for in that accessibility has come a loss of a sense of it being special, of the combination of art and alchemy and with that some of the mystery some of the magic. And a lot of the expense, as least as far as news organisations are concerned.
For a time there were those who sought to hold back the tide of course, on grounds of technical inferiority, dynamic range, colour rendition, ability to enlarge, but when the pixel count got to the point of where it was good enough for the front page it was game over. But this pitches film v digital, one or the other, take no prisoners. A good way to lose what motivates us. If film floats your boat AND gets you out there taking pictures then go with film. Ditto digital. Unless we are making a living out of it, in which case this is an interesting question (maybe). Our customers want digital? Guess what we are going with.
So, we end up with having to scan your negatives anyway as a way of displaying and storing them and that on top of a process that was never cheap. That said there is a niche market and rumours of come backs of old film stocks abound (fantasy almost entirely, Kodachrome ain’t ever coming back in my far from humble), but the truth is the machines to make film are very old, there are no spare parts manufacturers for them and some of them are huge: We’ve used this link for the production of film before (part 2 here), but it is well worth revisiting just to take in the sheer scale of the manufacturing problem.
We might miss it, may even still use it, but film is and will remain a niche market. Digital has yet to match the look and feel of film (amazing on how many photographers seem to have forgotten just how grainy a Kodachrome 64 slide could be when projected) and when it does we will run into the same problem different clothing. It was a look with limited variation, because there were never that many manufacturers on the market in the first place. Digital has looks of its own but we weren’t viewing slides on 4K televisions, lap top screens, mobile phones, tablets, just projectors. The only question is do you like the look?
And let’s not forget that single lens camera sales are down by 84% 2016 over 2011.
And as already stated here and in Matt’s talk and the videos he brought with him that ship has sailed. He admitted to being nostalgic for film but not to the point that he is considering running his business on the model, for though there is most likely a market it is considerably less likely sustainable.
A little more perspective on the 35mm film angle. The last time there was a comeback for 35mm film was in 2011. Sales disappointed in 2012, this might be a cyclical thing but if it is it is not clear what is driving it. Dixons/Currys stopped selling 35mm film cameras of any type in 2005. Yet by the summer of 2016 film was making a “Stunning comeback” mainly driven by those new to the medium. Film was even projected to go away totally by 2020, according to some, though that seems unlikely now. The actual figures, the units, are not going to match the height of film – around 2001 when 19.7 million SLR’s were sold.
That is really something of an empty argument though and really the domain of the hobbyist and occasional professional artist. With the need for time consuming processes disappearing the need for the number of press photographers to cover events fell – memory cards could be plugged into computers. With the growing ubiquity of cameraphones the photographs of dramatic and not so dramatic events are taken and uploaded to social media often before the press are even aware. The final nail in the employed photojournalists career prospects. Now it is not unusual for media groups to have none whatsoever. Now it is all self-employment and whereas the need for the expertise in photography and, increasingly, videography still remains the nature of how that relates to the occupation of commercial photographer, as most are today, has changed.
Lot going on in the club at the moment, since the last post we have had: a presentation of images from the table top night a fortnight ago; this week the club outing to the Lake District is taking place and the weather has held for them in one of the wetter parts of the UK; we have had on-going discussions about the projector replacement and, oh yeah, we had the AGM along the way.
As if that wasn’t enough the dry spell continues, the bluebells are at full chat and the sun is shining more days than it isn’t. There are a lot of events going on and I don’t think as amateur photographers, as most of us are, we have a great deal to complain about photographically.
Apart from the price of gear. Which is going up. And up. And looks like it will continue to do so for the foreseeable future. Lots going on from Canon, Nikon, Sony, Panasonic but all at the top end. The cheapest out of that little lot, and I am talking camera bodies here, is around £1700. No wonder fixed lens camera sales are down by 84% from five years ago. Year on year they are better 2017 over 2016, but the size of the market has dropped and I cannot be the only one who sees a possible correlation with price. Not that would be a sole cause, the enormous improvements in cameras on phones has had a tremendous impact no doubt.
Or has it?
I can see that the practical annihilation of the compact camera might be attributed to the ubiquity of the phone-camera, but the single lens reflex/mirrorless? The number of pictures taken (badly) is certainly far, far higher than it used to be and the most popular medium for doing so is the cameraphone.
The most frequently used camera in 2014, 2015 and 2016 on Flikr were Apple iPhones. The current top 5 cameras in the Flikr Community are, in descending order: Apple iPhone 6; Apple iPhone 6s; Samsung Galaxy S6; Apple iPhone 5s and Apple iPhone 7. 5 out of the top 10 brands used are phone brands, with 1, Sony, crossing over into both single function camera and cameraphone and 7 of the top 15. AppleInsider crunched the numbers further and reckoned that in 2016, iPhones accounted for 47% of the photographers on Flickr with Canon and Nikon limping along at 24% and 18% respectively. To which I would attach the caveat that plenty of Nikon and Canon camera owners also have an iPhone or its Android equivalent. Overall cameraphones accounted for 48% of uploads last year.
Now here’s the rub. Whereas I am not disputing the fact that cameraphones account for nearly half of all uploads to Flickr these days, that there are photographers who don’t shoot with anything else out there who make a living from photography, sooner or later the hobbyist is going to conform to the Single lens norm. And when you have a choice of your DSLR/Mirrorless camera that you have paid a lot of money for, then the days of “I’ll leave that at home and take the cameraphone instead” are very few and far between. Or maybe that is just me.
There has to be some other factor in play too. Well I for one will cite the price of what is being released is a factor among hobbyists. I am not arguing with the capability of cameras being released to sing and dance in mind boggling ways. Nor am I going to argue that marketing doesn’t play a big role in this, but there is a reason that the majority of necks that you see these cameras hung around are middle aged (and male). That reason would be disposable income.
It was never a cheap hobby, though spread out over a number of years on easy payments it could be an affordable hobby when, as the club motto points out, it’s the picture not the camera that counts. However, the wonders of hire purchase aside, we are fortunate to have a hobby that can be encapsulated in a phone. The key, as ever, is to know your equipment limitations and use those and the tools of composition to get the image that you want.
The chief limitation, sensor capabilities aside, is the fact that most cameraphones come with a fixed wide angle lens. The reasons for this are, I think fairly obvious. Used mainly for social photography of friends and family and increasingly as a note book, the ability to get a lot in a confined space is going to be a design factor. The fact that the physics deliver a depth of field that is deep and so accurate focusing is less of problem or demand on the system certainly helps. It sits in the area of the old compact camera and basically destroyed that market.
So the obvious thing to do to get better results out of a cameraphone is to treat it as we would a camera with a wide angle lens mounted. That is exactly what it is photographically. Mounting a wide angle lens changes a cameras perspective compared to longer focal lengths. You need to be aware that paying attention to the edges of the frame, “Boarder Patrol” as one judge put it, is even more important, especially if you don’t intend to post process. Shadows have a habit of creeping in and taking attention away from your main subject, but when outdoors the chief consideration is the sky, in or out of shot?
The sky will push the dynamic range of the sensor, especially when there is shadow detail that you want in your picture. The dynamic range in your average cameraphone is relatively limited – you are after all buying a phone not a camera, though the relative capabilities of the camera on the phone probably matter more to a photographer than they do to the average cameraphone punter. There is also the question of whether including it adds or detracts from the overall picture so as ever, work the scene. Take multiple angles. Use portrait and landscape.
Wide angle lenses also distort perspective when not bang on square to the lines in the rest of the photograph. This is something to exploit. Using leading lines and a different perspective to gives the image a different feel and when done boldly, more punch. The flip side to this, of course, is that far away objects look very small, sometimes to the point of being overwhelmed by the other elements in the picture. Zoom with your feet as far as is possible. Get closer (or further away) through the medium of Shanks’s Pony. The combination of these two things, say when taking tall buildings, mean you have to be more careful with getting things squared up or they lean at alarming angles. Most phones (and SLR’s) these days have gauges built in to help with this.
So, the cameraphone is another photographic tool, learning to use it and exploit its features just like any other camera can be very rewarding. Be it open vistas or a lot of detail close up using the same composition skills as we use with our other gear can get good results.