Nov 2011
OUCH!
So, the little device I found on the sidewalk and was playing with was a piezo igniter. Click-ZAP!
Along with the ass-backwards staple gun, that’s a lot of hits to my hands this week.
I need to stop picking up things and playing with them. ;-)
Along with the ass-backwards staple gun, that’s a lot of hits to my hands this week.
I need to stop picking up things and playing with them. ;-)
What Camera Should I Buy?
This oldie but goody question eventually brings out the self-sufficient decider in each photographer. Here’s what I wrote once:
Q: “Why can’t I get the pictures I want? My pictures have no detail, and I bought a $brand camera. I thought I’d getter pictures, but so-and-so says I’d have more highlight detail if I bough the newest $2500 DSLR. Which is he best camera to get?”
A:
I hate to sound like one of those old-school guys, but if you're finding that your photographs are missing detail because of blown out highlights and black shadows, it could be that you need to pay attention to the light in your photograph. Often, that the first thing blamed is a camera’s technical specifications when simple troubleshooting can trace the problem to a hung-up camera setting or even the simple fact that for as fast as technology advances, there are some scenes that just aren’t photographic.
Occasionally I hear [questions] where someone seems genuinely perturbed that one camera or another hasn't solved the problem of light that most people don't find photographic anyway. Or else, someone is delving into menus trying to find the magic setting that will solve the problems they're having. Both of these things can cause more problems than they solve.
My advice, (which is worth exactly what you're paying for it) is to find a basic workflow that gets you where you want to go and stick with it for a while. Then, change one thing at a time to move closer to your goal. For all the noise and traffic about a particular RAW interpreter or reasons why Adobe is shooting itself in the foot today, I don't see many people actually performing tests to find what method works best for them. That holds true for the habit of making pictures, too - a subject I’ll write more about at another time.
Find something, stick with it, and when you identify things you want to fix, ask questions about how to fix that problem. This framework worked for film and it works for digital.
To draw an analogy that might help - stop trying to cook your favorite meal on every stove known to man before taking a look at your ingredients. I read [questions] like the one quoted above, and the answer to blown out highlights seems obvious. Either expose for the highlights and let the shadows fall, or don't shoot scenes that have a latitude exceeding that of the sensitized material.
John Sexton has made very successful and respected black and white work using a pretty static film and developer combination and adjustments he found after years of testing and troubleshooting. Have you done equivalent testing with your camera and the software you are having 'problems' with? While digital cameras solve some problems and cause others, it’s a snap to test these devices - they don’t require the time and mess of development to make tests!
There are a lot of photographs made without blown out highlights on Fuji’s Velvia, and you're lucky to get four true stops out of that emulsion. Adjust your expectations when technology makes new things possible, but don't expect it to save you from errors in judgement. The best digital camera is the one you are comfortable making pictures with - but comfort takes time and perseverance. In that way, and that way only, a camera is like a saddle.
Photographers still need to understand how cameras and light work to make a beautiful photograph, and those are seldom had on cloudless days at noon. But then again, I like this picture anyway. There are no rules in photography except the ones you’ve broken and don’t know about.
Q: “Why can’t I get the pictures I want? My pictures have no detail, and I bought a $brand camera. I thought I’d getter pictures, but so-and-so says I’d have more highlight detail if I bough the newest $2500 DSLR. Which is he best camera to get?”
A:
I hate to sound like one of those old-school guys, but if you're finding that your photographs are missing detail because of blown out highlights and black shadows, it could be that you need to pay attention to the light in your photograph. Often, that the first thing blamed is a camera’s technical specifications when simple troubleshooting can trace the problem to a hung-up camera setting or even the simple fact that for as fast as technology advances, there are some scenes that just aren’t photographic.
Occasionally I hear [questions] where someone seems genuinely perturbed that one camera or another hasn't solved the problem of light that most people don't find photographic anyway. Or else, someone is delving into menus trying to find the magic setting that will solve the problems they're having. Both of these things can cause more problems than they solve.
My advice, (which is worth exactly what you're paying for it) is to find a basic workflow that gets you where you want to go and stick with it for a while. Then, change one thing at a time to move closer to your goal. For all the noise and traffic about a particular RAW interpreter or reasons why Adobe is shooting itself in the foot today, I don't see many people actually performing tests to find what method works best for them. That holds true for the habit of making pictures, too - a subject I’ll write more about at another time.
Find something, stick with it, and when you identify things you want to fix, ask questions about how to fix that problem. This framework worked for film and it works for digital.
To draw an analogy that might help - stop trying to cook your favorite meal on every stove known to man before taking a look at your ingredients. I read [questions] like the one quoted above, and the answer to blown out highlights seems obvious. Either expose for the highlights and let the shadows fall, or don't shoot scenes that have a latitude exceeding that of the sensitized material.
John Sexton has made very successful and respected black and white work using a pretty static film and developer combination and adjustments he found after years of testing and troubleshooting. Have you done equivalent testing with your camera and the software you are having 'problems' with? While digital cameras solve some problems and cause others, it’s a snap to test these devices - they don’t require the time and mess of development to make tests!
There are a lot of photographs made without blown out highlights on Fuji’s Velvia, and you're lucky to get four true stops out of that emulsion. Adjust your expectations when technology makes new things possible, but don't expect it to save you from errors in judgement. The best digital camera is the one you are comfortable making pictures with - but comfort takes time and perseverance. In that way, and that way only, a camera is like a saddle.
Photographers still need to understand how cameras and light work to make a beautiful photograph, and those are seldom had on cloudless days at noon. But then again, I like this picture anyway. There are no rules in photography except the ones you’ve broken and don’t know about.
Rerun
08/11/11 22:51
I’m republishing (gradually) several essays about photography here. If you have ideas or comments about these, please contribute!
Be your own photographer
by Doug Broussard on Tuesday, December 21, 2010 at 10:12am
By Doug Broussard
My friend Les and I recently returned from a 2 1/2 day trip to Yosemite. While I've shunned the icons of the park for years now, a rare late fall storm coincided with a full moon to make a trip to the valley irresistible.
After loading the car and driving to the park in my trusty old CR-V, we made camp and I thoughtfully reviewed some of the things I'd learned over the years first or secondhand from masters of light that I've worked with and had the pleasure to know. After a beer and some light painting, we got to talking about each photographer's vision, and what makes it so.
Was Ansel a groundbreaking photographer because of his artistic background, gift for composition and his flexible framework for making successful exposures?
Was Cartier-Bresson an impact on art because of his devil-may-care attitude toward the technical side of photography?
Was Galen Rowell successful because he helped to define the 'adventure' photographer with his work from all corners of the globe and all manner of hard-to-reach places?
I think each photographer makes his or her own work best when the camera becomes transparent. Each photographer chooses the camera that he or she can afford and that appeals to them. That might mean that one photographer is a master of today's super-capable and complicated DSLR, or that they choose to use the simpler camera embedded in their phone. My opinion is that equipment matters only in the sense that it allows you to be comfortable and capable in revealing your own vision.
I'm sure many people know a photographer who obsess on the latest and greatest. Too often people get caught up in the equipment race only to be disappointed again and again with the pictures they make. That's not my way, and I don't think that most successful photographers think that way. Van Gogh surely had preferences on his brushes, paints and canvas, but in the end, it is technique and vision that makes art.
Here's a short list of "pro tips" that I hope you find humorous, insightful, and useful. I think they'll help you make your own pictures.
1. Stop Chimping!
I know. The urge is irresistible. You've just snapped a picture of something amazing. Your first instinct is to look at the back of the camera to see what you got.
Don't. You stand a far better chance of learning from your mistakes when you're not actually in the process of making photographs. I'm guilty of this sometimes too, which is why I have the review feature on my camera switched off.
The chances you'll miss a photograph while you're gazing at your LCD trying to figure out what to do next depend on the situation, but I guarantee that you'll have more emotional and visceral energy to look for light or action and to make your next photograph if you're not burying yourself with information and trying to photograph at the same time.
2. Avoid the temptation to emulate.
Really - who wants to see another picture of Half Dome? Maybe you do. And if photographs from every angle are what make you happy, photograph it. No one should judge you based on your choice of subject matter, least of all yourself.
Take this thought to another level; notice what other photographers are doing. But you don't have to do the exact same thing. If a scene moves you, make it your own. Look at light and angles and subjects rather than mentally comparing your vision to another's work.
3. Know the basics, and the limits.
Can a race car driver be the best with an automatic transmission, ABS, assisted steering, and lots of computer-assisted geegaws? You bet! Can a race car driver win a race without knowing the braking, steering, and power limits of his or her vehicle? Never.
Aperture, shutter speed, EV, RAW files, jpegs, color temperature - these are all technical topics covered in diarrheaic proportions on the web. Much like the old saying, everyone has an opinion, and everyone thinks all the others stink. But much like your vision, your grasp and use of the technical side of your camera (and it's sensor or film) will grow and change as you become more experienced.
For some photographers, point-and-shoot all the time lets them make amazing work. Others choose to have all the (expensive) options available - perspective control, nearly infinite exposure options, and a ready choice of film and development combinations that allow them to hone their visualization and vision - those masochists shoot 4x5! Somewhere in the nearly infinite gulf between the two lie the majority of photographers and a depth of cameras that can produce a bounty of work. Photographers who print for exhibit or sale have a host of other choices to make and be informed about.
Photography isn't a race against others. We 'race' against our own vision. Knowing your tool of choice is the key to crossing the finish line intact and happy - and the cornerstone of building on your art.
4. You're pretty awesome, no matter what they say.
Seek criticism. And give it. But don't live by it.
Like I mentioned above, everyone has an opinion about photography. You may see a technically flawed photograph of a beautiful scene, but others may be faint with compliments. Or, they could wonder what kind of drugs you were on.
Be confident about your work, but open to suggestions, and be careful about what you ask. When you ask someone you respect about your work, be ready to hear criticism, and remember that ultimately, you get to decide who values your work. A good mix of critiques and your own ideas often makes the best brew of photographic work.
Likewise, if you're asked to critique someone else's work, remember that their goals may not be yours. Ask questions about their motivations and desires - not just what lens they used - in return, you may learn something about your own work.
5. Push more than the shutter release.
Don't stop experimenting. Never give up. Listen to your inner child, but don't be afraid to send him to bed without supper. And if you find that your passion wanes, take the time to nurture it. Your happiness is the yardstick for your own art.
I guess that's it. Happy photographing.
Be your own photographer
by Doug Broussard on Tuesday, December 21, 2010 at 10:12am
By Doug Broussard
My friend Les and I recently returned from a 2 1/2 day trip to Yosemite. While I've shunned the icons of the park for years now, a rare late fall storm coincided with a full moon to make a trip to the valley irresistible.
After loading the car and driving to the park in my trusty old CR-V, we made camp and I thoughtfully reviewed some of the things I'd learned over the years first or secondhand from masters of light that I've worked with and had the pleasure to know. After a beer and some light painting, we got to talking about each photographer's vision, and what makes it so.
Was Ansel a groundbreaking photographer because of his artistic background, gift for composition and his flexible framework for making successful exposures?
Was Cartier-Bresson an impact on art because of his devil-may-care attitude toward the technical side of photography?
Was Galen Rowell successful because he helped to define the 'adventure' photographer with his work from all corners of the globe and all manner of hard-to-reach places?
I think each photographer makes his or her own work best when the camera becomes transparent. Each photographer chooses the camera that he or she can afford and that appeals to them. That might mean that one photographer is a master of today's super-capable and complicated DSLR, or that they choose to use the simpler camera embedded in their phone. My opinion is that equipment matters only in the sense that it allows you to be comfortable and capable in revealing your own vision.
I'm sure many people know a photographer who obsess on the latest and greatest. Too often people get caught up in the equipment race only to be disappointed again and again with the pictures they make. That's not my way, and I don't think that most successful photographers think that way. Van Gogh surely had preferences on his brushes, paints and canvas, but in the end, it is technique and vision that makes art.
Here's a short list of "pro tips" that I hope you find humorous, insightful, and useful. I think they'll help you make your own pictures.
1. Stop Chimping!
I know. The urge is irresistible. You've just snapped a picture of something amazing. Your first instinct is to look at the back of the camera to see what you got.
Don't. You stand a far better chance of learning from your mistakes when you're not actually in the process of making photographs. I'm guilty of this sometimes too, which is why I have the review feature on my camera switched off.
The chances you'll miss a photograph while you're gazing at your LCD trying to figure out what to do next depend on the situation, but I guarantee that you'll have more emotional and visceral energy to look for light or action and to make your next photograph if you're not burying yourself with information and trying to photograph at the same time.
2. Avoid the temptation to emulate.
Really - who wants to see another picture of Half Dome? Maybe you do. And if photographs from every angle are what make you happy, photograph it. No one should judge you based on your choice of subject matter, least of all yourself.
Take this thought to another level; notice what other photographers are doing. But you don't have to do the exact same thing. If a scene moves you, make it your own. Look at light and angles and subjects rather than mentally comparing your vision to another's work.
3. Know the basics, and the limits.
Can a race car driver be the best with an automatic transmission, ABS, assisted steering, and lots of computer-assisted geegaws? You bet! Can a race car driver win a race without knowing the braking, steering, and power limits of his or her vehicle? Never.
Aperture, shutter speed, EV, RAW files, jpegs, color temperature - these are all technical topics covered in diarrheaic proportions on the web. Much like the old saying, everyone has an opinion, and everyone thinks all the others stink. But much like your vision, your grasp and use of the technical side of your camera (and it's sensor or film) will grow and change as you become more experienced.
For some photographers, point-and-shoot all the time lets them make amazing work. Others choose to have all the (expensive) options available - perspective control, nearly infinite exposure options, and a ready choice of film and development combinations that allow them to hone their visualization and vision - those masochists shoot 4x5! Somewhere in the nearly infinite gulf between the two lie the majority of photographers and a depth of cameras that can produce a bounty of work. Photographers who print for exhibit or sale have a host of other choices to make and be informed about.
Photography isn't a race against others. We 'race' against our own vision. Knowing your tool of choice is the key to crossing the finish line intact and happy - and the cornerstone of building on your art.
4. You're pretty awesome, no matter what they say.
Seek criticism. And give it. But don't live by it.
Like I mentioned above, everyone has an opinion about photography. You may see a technically flawed photograph of a beautiful scene, but others may be faint with compliments. Or, they could wonder what kind of drugs you were on.
Be confident about your work, but open to suggestions, and be careful about what you ask. When you ask someone you respect about your work, be ready to hear criticism, and remember that ultimately, you get to decide who values your work. A good mix of critiques and your own ideas often makes the best brew of photographic work.
Likewise, if you're asked to critique someone else's work, remember that their goals may not be yours. Ask questions about their motivations and desires - not just what lens they used - in return, you may learn something about your own work.
5. Push more than the shutter release.
Don't stop experimenting. Never give up. Listen to your inner child, but don't be afraid to send him to bed without supper. And if you find that your passion wanes, take the time to nurture it. Your happiness is the yardstick for your own art.
I guess that's it. Happy photographing.
Department of iPhones, Ducatis, and weird comparisons
08/11/11 21:57 Filed in: Motorcycles
This might be one of the more bizarre conflations of personally-treasured items I’ve ever read. Either that, or it’s an ad for Ducati.
Cool! Map your Microwave...
08/11/11 12:24 Filed in: Links
This is my new blog.
08/11/11 09:29 Filed in: Announcements
You can download a copy of my preliminary workshop brochure here shortly, with information about workshops I’m leading in Northern Nevada, the Eastern Sierra, and California’s Central Coast.