Back to practising techniques, last meeting, something you can’t really ever do enough of and it was interesting the conversations I drifted between as members swapped ideas and techniques and generally talked photography. I know it’s a photography club, but members talking photography is a sign of engagement. It is an important part of our development as photographers, the practice and the discussion. It can be formal or informal, but it is always better if it is structured, if we are looking for an end result and practice makes perfect, after all.
The question then becomes what structure? There isn’t one set way of doing this sort of thing, which isn’t particularly useful, rather it doesn’t make starting particularly easy, not least because there are two points which one can start from and a myriad of options in between. These two points are obviously connected, as they are integral to the capturing of an image, but one is about mechanics and the other is about the image as we want want it, the craft of the art.
To set about resolving this we have to first decide what it is that we want to improve. Proper Prior Planning Prevents Poor Photography. The easy answer is “everything” and whereas this might be true it can also be a dampener. The first step in this is to solve the mechanical v the craft dichotomy. Lets put this a slightly different way. We are talking the Camera Settings v Composition and lighting. OK so the former depends upon the latter and the latter really depends on what we are translating from minds eye to captured image.
Thus far, thus obvious. Actually no, its an all too common trap we have all fallen into at one time or another. Substituting the planning for the doing. Remember, what we are trying to do here is a quick fix that we can use as a starting point, not capture every detail of the wedding of the century. Step one is – always – get the camera out of the camera bag. Picking a particular aspect, depth of field, manual mode, off camera flash from the mechanical side and / or any one of the myriad of compositional and or lighting tools as a starting point, taking that shot, then varying it comes after, but not if your camera is sitting in it’s bag.
The learning, and some pleasant surprises along the way, come with the variation. There is another point too. We have a day out, it’s a good day to have a camera and we have made the best of it. That can mean 10, 100, 1,000 frames, but how many of them look the same, that is, were taken from the same angle, same height? With film we had to be a lot more choosy and as an exercise 36 sequential frames – no deletions – used on a subject or a location tells us a lot about our predominant style, habits (both good and bad). The challenge is to use this limited resource as a tool to force us to look, look harder, for the essence, for the compelling reason to take that picture.
Take the 36 shots into our editing programme and use it as a learning tool, what adjustments do we usually make? Can we automate these and improve our work flow? What should we be doing to get it right in the camera, the most effective improver of workflow? How many other ways are their to tell this story?
We started with a balance of two things, the mechanics v the composition. Of course the fact is the mechanics are just the means to the imaginative end, but they are critical means because they affect that imaginative end, they realise it or they don’t. They can be on or off camera, but ultimately it is all about the manipulation of light and subject and the possibilities open to us from small differences are huge. The key to success is to start with the end in mind but to look for those differences along the way. Digital photography in particular puts this a lot more firmly in your average club members grasp.