Blog has been on a bit of a hiatus through other commitments but hopefully is back to being regular now. Our last session was the club Christmas party and a good time and a few quid raised for club coffers means that it was a success. A record was probably set for unflattering-photographs-of-club-members-whilst-sober but it was all in a good cause. Our thanks to Myk for running a very enjoyable evening.
The programme in the new year is full of promise too, underpinning the aim of the club to be one where we learn together rather than one where blokes (it always is blokes) stand around, sucking the air through clenched teeth, fiddling with the string in their cardigan pockets whilst moaning about things not being as they used to be in the good old days.
Like any skill we learn as much, arguably more, by not getting it quite right and keeping a balanced and critical eye. Use the judges’ opinions and try them out. Critique the result for yourself and compare it to your original. Use the clubs internal online presence (sorry members only) to try out others opinions. Use a buddy group, use external sites that offer critiques (thick skin sometimes required). There are lots of options.
Try something new. Christmas is rapidly becoming the one time in the year many photographers decide to try out bokeh. Everything to do with the Christmas Tree lights. Bokeh is an example of making the most out of something you can’t change. In this case, the laws of physics, branch optics.
If you look at the world through your camera phone, most of it is in focus most of the time, even though the lens aperture is usually pretty wide. Think of the situations cameras are used in phones for the most part and keeping things still enough not to blur means a wide aperture is a good idea to keep shutter speeds up. This is because of the depth of field relative to the size of the sensor you are using for capture. Basically F2 on your camera phone is roughly F11 on a full frame (35mm) sensor in terms of depth of field and camera phones use wide angle lenses (compare further). Note that is not an expression of the amount of light transmitted, only the area we find acceptably sharp. It also means, practically, that, mostly, bokeh effects on camera phones are software rather than optically driven. This is by the by for most users.
You can, at least in theory, construct bokeh on any lens (tougher on a fish eye, but possible). The term bokeh is Japanese and an art term for the aesthetic qualities of out of focus light. It can also, given the right context mean senility or mental fuzziness, apparently, but that too is by the by. The keys to successfully taking a bokeh photograph are pretty straight forward. Paying attention to the basics of composition is as important as always. The effect may be out of focus but the subject must be in focus. Maybe obvious, maybe not, but essential nonetheless. Get as close to your subject as possible, framing is important and only having one subject is as important as ever it is.
The largest aperture on your chosen lens is also a given if you want to maximise the effect. Prime lenses are probably better than zooms as they tend to have larger maximum apertures. F2 is more convenient for this than F3.5 which is better than f5.6 in that the depth of field is less for any given sensor size the wider the aperture set at a fixed focal length. But as with everything kit wise the one you’ve got is the best for the job.
The other key is the separation between background and subject (and, of course, having some light in the background!). The larger this gap is the larger the bokeh effect will be. Of course the Christmas tree isn’t likely to have a lot of room behind, nonetheless the effect is still obtainable, though colour balance can be tricky. If you are at macro distances then the effect on the background can still be striking, though of course through a more restricted field of view. That includes the use of lenses and extension tubes, just bear in mind depth of field is extremely shallow.
The shape of the bokeh is determined by the number of leaves that go up to making the iris. Cheaper lenses tend towards having five or six blades to the iris, more expensive lenses 9 or more (and in between). The more blades the more circular the bokeh appears. The other factor is the placement of the blades, straight or rounded making for hard edged or circular smooth points. You pays your money and you takes your choice.
And that is pretty much all there is to it. It can be done indoors and out. It can be done in different light levels. It’s a simple technique that makes the most of a physical necessity. It can be one point or many depending on light source(s). Straight forward and quite striking. Try it.
This week we had our first of the season’s My Photography sessions, Steve Dyer taking us through his studio work including lights, modifiers and some of his post-production work flow. Some fine images, and a sound outline of the equipment he uses to get his preferred evening was an illustration of some of the talent we have in the club. And Steve was happy to state that the club has played, and continues to do so, a strong part in his development as a photographer.
We have looked at light modifiers in the last two posts of 2016, dividing them into soft light modifiers and hard light modifiers. We also referenced the excellent The Strobist website and it remains well worth the effort. These three will form the underpinning of the rest of this post, which will mainly, but not exclusively, be about building an off camera flash on a budget.
Steve has spent the last few years and not a little income in collecting his equipment he uses in his set up. The modifiers can be gained quite cheaply, but the build quality is what you really pay for when you buy the more established branded modifiers. One of the keys here is how core these pieces of equipment are to our particular form of photography. Another is our available budget, of course. It can be done relatively cheaply and here we will be looking at the options from a restricted budget perspective.
So, our mission is to put together a useable off camera flash with modifiers. Keeping within the basic theme we will start with the flash unit. Canon Speedlites start at around £160 and, obviously, are designed to work with Canon cameras (though will work with other makes but might have limited use of extended features) and we can pay over £500 for the top of the range and into four figures for the specialist designs. Nikon is not so very different. But how low can we go? The main thing that we give up on a restricted budget is power, as expressed by the Guide Number.
The Guide Number (GN) is far more than this though. Usually expressed in meters (feet in the USA) the GN is a tool for calculating the light falling on the subject from that unit at a given distance or F-Stop. How does that work? Actually quite simple. I have a flash gun with a GN of 33. I am 2 meters away from my model. The GN = f Number x Distance. The industry standard is 100 ISO but check the flash-gun’s handbook.
So, back to school maths, GN 33 = f number x 2meters.
Therefore 33 / 2 = f number or 16.5. Set the aperture at f16 to f18 according to the capacity of the lens diaphragm.
In an ideal world going to 200 ISO effectively doubles the guide number. Well it would if it weren’t for the laws of physics. There is a thing known as the inverse square law. Double the distance means
four times the light to get the same degree of illumination on a subject. So ISO 400 to get twice the light on the subject from a 100 ISO base.
Now TTL metering will sort all this out if the flash unit and the camera are capable of dealing with it, but that basically doubles the cost of the manual flash. Or we could buy a flash meter (make sure it is a flash meter not just a light meter, and better it is calibrated for photography. as we may waste our money) to do accurate calculations for us. However, dedicated off camera flash meters start at around £175.00. Not within our remit here. This is one area where chimping comes in and getting to know your equipment will really pay off. We can, with practice, get pretty close to right first time but, with the cost per frame and immediacy of digital, test frames consume not a lot other than a little time.
As we are talking off camera flash we will need some way of triggering the flash off body. Basically there are three ways to do this: Fixed cable (if the flash unit will take that, but most modern ones will); light trigger; wireless trigger.
Wired isn’t much, if indeed any, cheaper at the budget end of the spectrum than wireless. Light triggers (Optical) are built into the front of flash units so enabled and are usually encased in a red plastic cover. These can be triggered by other flashed including on camera flash if you have one built in. Wireless triggers are very popular and even the cheaper ones function pretty well, though it is necessary to maintain a line of site to ensure the flash triggers. The cheaper ones will be more prone to misfire, and will have a limited number of channels they can operate over (usually 4). The more sophisticated units cost more money, are better with weaker signals, can be programmed to fire in zones or sequences, even so there are some good units out there for not a huge amount of money.
As an extra and when you have one, essential, piece of kit to complete this summary, a light stand is a good investment. A light stand will take your flash to a higher angle, usually up to about 9 feet, or just under three meters. This gives us a lot more lighting options.
So how much can we do this for? * At 16th October 2017:
Flash Unit, Amazon Basics (made by Godox) £26.
Neewer Light Modifiers for Flash £46
This is a pretty complete set and a good start. Refer to the Soft and Hard Light modifier links above and note that some of these quality of light is determined by their size. This is a good place to start, but by no means the only place.
Light Stand £13.60 (two for £22 also available)
All in around £95.
Thanks Steve, for the entry point. The rest of us, enjoy.
*There are lights, stands and back drops that members can borrow from the club. See Eddie House.
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.
Monochrome and lessons in depth of field as we split the room between practical and tutorial this last session and I must say it worked rather well. Both the choices of colour and the application of depth of field are creative decisions, they convey subtleties of look and feel, they speak as much to meaning as they do they do to composition.
Timely indeed as there has recently been evidence published that rather challenges the conventional wisdom of how we look at a photograph. Logically paintings, etchings drawings etc too, but this is a camera club so we will stick to talking about photographs. At the outset I have to say that this research doesn’t present a new way of perceiving how we look at images, how photographers perceive their images, but it does present evidence to support some photographers way of looking at their art. “We are making photographs to understand what our lives mean to us” wrote Ralph Hattersley so maybe it isn’t such a stretch to suggest that meaning is our primary guide when we look at a photograph. Similarly Don McCullin feels that “Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures,” and Wynn Bullock “When I photograph, what I’m really doing is seeking answers to things.” Well you get the idea.
Of course we all spend a lot of time discussing whether it is “Visual salience based on semantically uninterpreted image features [that] plays the critical causal role in attentional guidance, with knowledge and meaning playing a secondary or modulatory role [or it is] … meaning [that] plays the dominant role in guiding human attention through scenes”. Not … but ….
Let’s think for a moment about the way we are lead to judge photographs when we start taking photography more seriously, especially when we start talking about conventions used in competitions.
Very basically we photograph to capture a relationship between and impact of objects, subject and space arranged within a frame to tell a story. When we looked at critiquing images last season we talked about the considering initial impact an image has on us before moving on to: considering the story it is telling us; the technical issues such as light, focus, foreign objects, crop, exposure, saturation; then considering the technical details like composition, colour and subject matter before using all these as evidence to come to a reasoned conclusion.
It isn’t the only way but its consistent application, when applied across a range of photographs makes it clear how to go about improving our own. It is a good habit to get into, if nothing else to make your efforts clear to yourself and to spot areas you can work on. It’s also worth keeping a record.
Not too much of a leap to say that we, as photographers, already think that we look for impact (meaning), first, then for the prominent features (salience), because emotion is what we are trying to stir in our audiences. For sure that is going to be variable, but if we put consideration into what and how we photograph then we can make then we have the makings of a story.
Then we have the many and varied tools of composition. We have discussed before why tools not rules, but basically it is do with the selection of techniques to emphasise the point of our story, rather than a must comply with. You can get one story per frame for the sake of impact. Split the audience’s attention between two focal points of equal weight and you risk halving the impact of the image. Restrict the impact and you restrict the meaning and we, according to this study, are suckers for meaning.
So composition is one way we can get meaning into our images. With human subjects we can also do much by our interaction between photographer and model and leave the camera out of the interaction as much as possible. This is our chance to explore character. Too many photographers let the camera come in between them and their subject. Time spent building that relationship, even with a model you know is time well spent. Use the camera as unobtrusively as possible, get them to focus on the brand label on the camera body rather than the unblinking eye of the lens, which can be intimidating. Candid photographs have their own power and their own techniques.
Someone, and I cannot remember who, once said that we should consider the background then put the subject in it. That makes sense when we want to cut out distractions. It also makes sense when we have a striking background and can reference our subjects within it. There is a difference between the background as backdrop and the background as distraction. Dramatic scenes, interesting lighting, like the light of early evening or early morning, add to the meaning by adding qualities of light or drama for us to place our subjects in an interesting part of the frame all. These things can be ways of adding meaning to our images as long as we practice, practice, practice and practice with a critical eye.
An alumni night last club meeting, taken by former club member Tony Cooney covering his tour of Iraq as a Royal Engineer. It is the only time since I have been a member of the club we have actually been short of chairs for an event that became standing room only. Tony brought not only photographs but an interesting array of prints and pieces of kit that augmented a fascinating talk about his experience of, possibly, Britain’s most controversial war of the last 70 years. The Royal Engineers, “Everywhere where duty or glory lead” , have a long and very distinguished history in a role that is as old as the concept of a military. They go where the Army go. Without their skills the Army will not go very far at all. They provide and maintain the infrastructure that keeps the rest moving.
Tony’s pictures were taken at a time when digital was a “new” thing (technically nearly thirty years old but new to most of us) that was beginning to take a hold and film was the only option for “serious” photographers. We have certainly come a long way in the last decade or so. He took both digital and film cameras. At around 2 mega pixels for digital images at the time, you can see the point. Also Tony was using digital before it tipped the selling scales in 2007 which was the first time it outsold film cameras.
Tony stands in a now century old tradition, not always embraced by the authorities, of the squaddie photographer. The very first toted the Kodak Vest Pocket camera of 1912 and the Autographic of 1915, which found Their ways to war in the hands of thousands of regulars, volunteers and enlisted men and not a few women, of all ranks. The Box Brownie (1900-1934) was also vastly popular but nowhere near as robust. This everyman photography was a feature on all sides to a greater or lesser extent (A book has recently been published on the KVP in the trenches written by military historian Jon Cooksey) and its continuing significance as social record should not be underestimated.
Using average wages as a guide, the £1-10 Shillings of a 1912 model Kodak Vest Pocket bought during the Great War would take a £545 chunk out of an average pay-cheque today[i]. Mind you the average wage in 1912 was around £67 a year (about £6,905 in today’s value using inflation as a guide, but between 1912 and 2016 average wages far outstripped inflation). A Kodak Vest Pocket would take about 2% of the average annual wage to purchase, so not a huge chunk of change but substantial enough to ensure most of them, at least initially were probably in Officers hands as it represented more than a week’s wages for many – before we take out the cost of film and processing.
The British Army banned cameras that were not in the hands of Official War Photographers in 1915, for fear of the intelligence it could provide when captured by the enemy. All combatants developed a similar ban. Often it was overlooked and cameras at the Front if not exactly everywhere, were not remarkable but the subjects were and are.
This democratisation of photography, and we should not underestimate the role that the invention and mass production of gelatine based film had on this process – it was the absolutely key driver – produced an invaluable, if widely dispersed, social record of men and women at war, not the sanitised version of the official published record, nor the sensationalised one of the press, but the real lives and routines of the people who were there and the people around them. This is not to diminish the cost of this in lives lost and shattered, but is actually (and thankfully) but a small part of the whole and Tony’s presentation represented that much bigger picture. But when it’s you it is 100%. Tony spoke of the personal cost, how it has taken a long time to get not just the large amount of stories together into something he can show but also the necessary perspective to make the presentation work. Which it did.
Tony also had, not just the kids-everywhere pictures (roughly 40% of Iraq’s population is under 14, and war ranks fifth as the causes of death in the country) with their insatiable curiosity, but also the pictures from a family get together for which they were loaned a camera. For me that added more depth and breadth from what must have been, necessarily, a relatively isolated experience – even if, sometimes, as Tony related, an undeniably and demonstrably dangerous one.
So our thanks to Tony for an excellent evenings presentation, much to think about, and a very great deal to see.
[i] Lawrence H. Officer and Samuel H. Williamson, “Five Ways to Compute the Relative Value of a UK Pound Amount, 1270 to Present,” Measuring Worth, 2017 . Using 1912 and 2016 data.
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.