Tagged: Stephen

23rd March 2017 – Does better kit make a better photographer?

We’ve done landscaping (an excellent evening by Stephen Spraggon, highly recommended if the comments of members after the session are anything to go by: and they are) and portrait lighting (members Gerry Spencer and Steve Dyer putting up an excellent show against recalitrant technology – again set members abuzz) since the last post (plus the Sun has made an appearance, at last, but rain still predominates) and that gives just a taste of the variety that there is to be had in the club programme. If members have a contribution they can make or a suggestion for the programme then please get in contact with Myk Garton, either at the meeting or via the club closed group Facebook page.

 

Interesting article on Petapixel this week, about the merits of relative sensor sizes (and other bourgeois concepts – see last post) where it matters to  a professional. Pictures sold. Photographer Chris Corradino finally sold more of his micro 4/3 taken pictures than his full frame, rather underscoring the point made here countless times that when looking at a photograph no one can tell you what it was taken on. Even if they could, and maybe there are some people that can, or think they can, in the end it does not matter. The viewer isn’t the slightest bit interested in brand, sensor size or manufacturer (often not who you think), lens, weather sealing, menu options, filters or the colour of the photographers woolly hat (mine is black by the way). They are interested in, engaged by, the image. OK sometimes a few of the 2.6 billion estimated photographers (probably the hobbyists, pro’s and semi pro’s) on the planet might occasionally think “How did she do that?” but the answer is usually on YouTube, the web or in a book (old fashioned and distinctly analogue concept I know, but irreplaceable in my far from humble opinion).

 

Novelty aside, if megapixels, maximum apertures, brand name, cost of glass were more important than composition, the exposure triangle and actually pointing the camera at something remotely interesting in the first place, then you could simply buy your way to success.  This is one area in life, though, where you can’t replace the (hopefully metaphorical) blood sweat and tears of learning a craft. For sure you can spend 20 hours or so getting a firm grasp of the rudimentaries and turn out some decent pictures if only more through accident than design, but, as the ever quotable Henri Cartier-Bresson pointed out: “Your first ten thousand photographs are your worst”. And he was talking in the days of film where the cost of your next frame was a consideration in pressing the shutter. Maybe it is now our first hundred thousand pictures that are our worst.

 

So what is the point of top end equipment? Essentially it is about flexibility and durability. Specialist requirements aside, such as tilt shift lenses and medium format cameras, it is about being able to go one stop further because you have to, it is about the ability of the equipment to take constant rough handling and still work; it’s about eliminating design and manufacturing flaws in optics which most of us either live with or don’t even know exist; it’s about built in redundancy whilst still being able to function. It is as much about confidence in the equipment working as anything else. What a professional pays for is not to worry about the kit working so that they get paid, not sued – and have a spare to hand anyway. And that is worth the premium as a professional photographer who gets a reputation for not delivering does not remain a professional photographer for long.

 

Then there is that old saw, “The best camera is the one you have with you”, which may be what the philosopher Daniel Dennett called a “Deepity”. A Deepity, according to  Dennett, is something that sounds important and true but is really false and trivial. In this case the point is that which you have will freeze the moment in front of you before it disappears, that which you desire cannot. True but not very helpful. What it implies is more important though, and that is learn to use what you have to hand. The question is how does this handle the exposure triangle not what does this do?

 

Take the example of the camera most people have with them all the time these days. The one on the mobile phone. Yes they are subject to the same financial restrictions as making any other camera and once they were just an add on. Today they form part of the buying decision, certainly they are a big consideration in the makers marketing processes and therefore manufacturing decisions. Some professional and semi-professional photographers shoot on nothing else. There is even a hip term for it iphoneography, named after the Apple range, long held to mount the best cameras in a phone, but that is constantly under challenge from other manufacturers, such as Samsung. Huawei have gone so far as to link with Leica, who were part of the design team for their P9 and P10 cameras.

 

The basics stay the same as hinted at above, just altered a little. Get to know how your camera app (there are lots to choose from on both Android and iPhone) handles the exposure, ISO and aperture. The tools of composition don’t change. You are going to have to choose between digital zoom (reduces quality) and getting closer/further away by walking (reduces shoe leather). You can buy accessories to snap on your phone cover to act as  wider angle or more telephoto (at a price) then you have to carry them and unless you are deliberately choosing the mobile phone as your camera of choice they are as likely to be elsewhere when you need them as to hand.

 

OK so in order to make the phone camera useable by a wider audience you might get some scene modes, like fireworks, portraits, indoors, HDR, slow shutter and so on. This is a, maybe I should say was a, big feature on compact cameras (still prefer mine to my phone, not least for the optical zoom). There is a trick to using these outside of the do-what-the-icon-says-to-take-pictures-of. Basically you need to experiment on controlled light conditions. You can then apply these camera settings as short cuts in the wild, so to speak. That’s before you get to the editing stage.

 

Editing on smartphones too often appears to be of the smear on variety (possibly because of the nature of the touch screen, more likely a love of the ready made), and is as subject to fashion as anything else. That is not to say that it cannot be used to add to the image overall, but it too often ends up looking like an amateur production pantomime dame made up in a hurry because he picked the kids up late from school. And there is the whole JPEG thing to yawn about. Yes you can shoot RAW on (some) smartphones and yes the same reasons exist to choose whichever you want according to your need. Same applies to this as to the pro-equipment remarks above, not least RAW cannot save a badly composed or otherwise uninteresting image.

 

Just because you have the latest and greatest smartest phone EVER, doesn’t mean that you are going to get an acceptable result simply by waving it at something vaguely interesting before going click. You are still going to have to work the scene, use different angles and shooting positions, get closer, get further away and so on. Consistently good images demand work as well as an eye for a picture and taking multiple images is no more expensive than on a stand-alone camera. Keep shooting until the moment is done, then and only then, move on.

 

N E X T   M E E T I N G

ROC Round 3 Judging.

27th August 2015 – Last of the Season and the Future of Photography?

Dockside this week, the last meeting of the 2014-15 season, near full moon and clear skies and the biggest boat ( the Lady Sandals, a private yacht that was, maybe, once owned by the actor Nicholas Cage for a few days, who also, I seem to remember, once owned a castle hereabouts he never visited – he is a man of expensive hobbies) seen in the basin for a long while (the MV Balmoral possibly accepted and then there wouldn’t be much in it either way though she was in the Bristol Channel I believe). We met under the “Big Shiny Ball” aka “The Disco Ball”, in reality the Planitarium in Bristol’s Millennium Square. Can’t say my own pictures were particularly heart stopping but I do have one, straight out of the camera, absolutely no post production, that apparently breaks the laws of physics. Need some time to puzzle that one out, or possibly engaging a Galactic Lawyer, but hey can’t say the evening wasn’t productive!

 

The Millennium that the Square celebrates was supposed to bring in many apocalyptic changes. Photographically it marked the beginning of the commercial change from film to digital and the relegation of a dominant medium to a men-in-cardigans-sucking-teeth medium in a couple of years. Then nostalgia isn’t what it once was. Stephen Mayes in an article in Time Magazine (thanks Mark Stone for posting via Facebook) this week argued that the changes were bigger than we first thought and that the photograph as photograph isn’t “Dead as many have claimed, but it’s gone“. The interconnected context of a photograph today, never mind the volumes of data about ourselves their sharing gives away, does not represent the optically and physically fixed idea of an article of record we think it does. Only a third of any image produced digitally, represents this century and a half truism of an unadorned record (and that was always at least part myth anyway), the rest of a JPEG or TIF file is interpolated. And the data in a RAW file, the digitally closest thing to a negative, can be manipulated in a near infinite number of ways. He cites Kevin Connor’s conjecture that the camera has evolved from picture making device to a data collecting one.

 

This does actually matter in our interconnected world, one where the next evolution of the i-phone may have a 12mp camera and 4K video capability, but also one where ALL the data on the phone, your life, good days, bad days and secrets between friends are shared globally in real time without you ever thinking about it. The delete button ONLY works on your phone. The myriad privacy statements and unread end user licensing agreements (EULA) allow us, distracted by the shiny things that these little miracles do and say, to unthinkingly give away data worth billions and permanently record those things we, maybe, one day wish had been left to fade from memory. Oh yes the digital camera now fits right in and not just camera-phones either because we upload/share not just the image but the exif data as well, maybe add a few comments, most of them instantly forgettable, lol, corny or otherwise steeped in a sauce of our own delusional wit, rotfl – to the point of incontinence. The point is “Except in photojournalism, there will be no such thing as a ‘straight photograph’; everything will be an amalgam, an interpretation, an enhancement or a variation – either by the photographer as auteur or by the camera itself” (Mayes after Marc Levoy).

 

My answer to that is, it always was. Composition? Decisive moment? Story telling? All a part of the art from day one because it was life imitating art at the beginning and ever since the very presence of a camera makes a difference to the way people act. That’s why “authentic” street photography sounds akin to stalking or surveillance in behavioural technique. That, however, maybe to (slightly) misrepresent Mayes, who is actually pitching that the photograph has and is becoming much more. It may, at the simplest level, represent a 2D representation of a 3D world but that 3D world now includes other experiences. Like the hyperlinks in this post represent layers of definition, interpretation and ultimately meaning through multiple perspectives with the text serving as guide in the same way as the image fires the story we put to it. Another point that this raises in my mind is that photojournalism isn’t immune from these things it is enhanced and increasingly depends. Apart from? Especially? Isn’t a crowd sourced citizen journalism closer to the notion of a cinema verite (Though someone still has to curate it)? And who has got the time to navigate this planet around every image world? Apart from Cultural Historians, Auteurs and the long term unemployed “Ain’t nobody got time for that“. Maybe that is the point. An image has a during, usually of a fraction of a second, we can only speculate about the before and afters for the most part.

 

Without a doubt photography is changing. Arguably there are fewer professionals around these days and someone turning up with a camera is no longer an event because everyone, virtually, has a camera as long as they have a Smartphone – and not just in the advanced economies. Mind you, turn up with a tripod and everyone thinks you know what you are doing. Within seconds you can be surrounded by men-in-cardigans-sucking-teeth telling you that nostalgia isn’t what it was and sticky fingered children asking you what that button does (not to ignore a few sticky fingered adults making off with your camera bag). Mayes is right though, new technologies, or the shrinking and disseminating of old ones does ask questions of society, not all of them comfortable to answer and in a culture of exploitation for profit the balance of privacy v profit will not naturally fall to the best individual interests of you and I. Then can you take the word of a bloke on the run from the World’s Creator Myths for breaking the laws of Physics?

 

N E X T  M E E T I N G

Back to School for the first meeting of the 2015-16 calendar. Bring along your images of the summer and share.