Adrian Scholes

(Practically) Foolproof Picture Taking

I’ve just finished reading an excellent little book; ‘A Definitive Study of Your Future in Photography’, by the late Victor Keppler. Published in 1965, it’s a fascinating read.

From the very beginning, Mr. Keppler draws a clear distinction between the camera as a piece of technology and the camera as a catalyst for art.  

“In the next decade” we are warned, “Cameras will be used as widely and casually as fountain pens” and, more ominously, “Continuing improvements in the design of low-cost automatic camera equipment will enable the average man and woman to take excellent pictures. Picture taking will be practically foolproof.” Frightening stuff!

He discusses what it will mean to be a photographer “in a world where the beginner can take images that compare favorably in technical quality with those of the skilled professional”, and predicts that “the coming technical marvels will make the demand for creativity in photography even greater than it is today.”

This theme is repeated throughout the book. We are continually reminded that an ability to see creatively, rather than mere technical proficiency, will be all that separates average photographers from great ones. The better we are at seeing, the more our pictures will stir the minds and emotions of others, and Mr. Keppler offers all kinds of wise advice on how to look for mood, detail, composition and message before clicking the shutter.

It’s a marvelous book, full of memorable quotes and anecdotes – some of which are naturally amusing when read from the perspective of 2010. Child photography, for example, should never be attempted “unless you have the patience to get what you want”. As the Father of a 7-year old, I can tell you that kind of patience does not exist :o)

Refreshingly, there isn’t a single discussion of camera equipment on any of the 150 pages. We learn how and what to teach ourselves, all about the different fields of photography, and some important rules to live by, but nowhere does he dictate to us the lenses we must own or why we need a camera with a certain ISO capability.

Take a moment to browse the photography books at your local Borders, and try to find something similar. Go on, I dare you. Nowadays, it’s almost impossible for a photographer to produce a book without explaining the equipment you need to emulate his or her fabulousness.

Full circle with the iPad...

I have one final thought on the topic I’ve been exploring in the past couple of posts; the idea of favorite photographs being a representation of our vision, rather than a literal recreation of the scene we see through the lens.

In the pre-digital world, this vision was brought to life in the darkroom. Masters such as Ansel Adams and Edward Weston would labor for hours, dodging, burning and using a multitude of other methods to recreate the image they saw in their mind’s eye. The end result was a paper print; often a single image that was shared with the world by exhibiting in a gallery. This crucial final step meant that every viewer got to see exactly what the photographer wanted us to see; the exact combination of tones, shadows, and highlights that the creator worked so hard to produce.

Digital photography changed all of that. I can also spend, should I choose, to dwell on a single photograph, using the power of Photoshop or Lightroom to emulate the tools of the darkroom and create the image I envisioned when I clicked the shutter. The moment I display it, however, my efforts immediately become superfluous. Each viewer of my photograph sees a different image. I have no control over the viewing platform you use. We each have different computers, different monitors, and different (if any) calibration devices. You will have brightness and contrast on your monitor set differently to mine. The colors and tones you see will depend on a host of settings, not least of which are your own personal preferences. I’m writing this on my laptop, which I already know displays my photographs much darker than the desktop on which I do most of my editing.

It just so happens that I was reading July’s pdn (photo district news) last night, which has an intriguing article on the use of the iPad for showing portfolios. In the article, Jason Lindsay, an advertising and travel photographer says “…it is really a different experience looking at the images on an iPad versus looking at them on a computer. It’s more engaging and feels more like a portfolio”

I wonder if part of the reason for this is that the iPad brings us full circle. If I develop my images to look as I want them to look on an iPad, and you view them on an iPad, we are both seeing what I want you to see. It has the same impact as a print portfolio, but with all the added advantages (tagging, multimedia, social media access, etc.) of digital technology. Of course, this is still not the same as standing in front of a 36”x72” print of “Clearing Winter Storm”, but I do believe it’s a step (or curve) in the right direction. Maybe the iPad is bringing us full circle. I wonder what Ansel would say. My guess is that he’d embrace it wholeheartedly.

Lightroom Delivers

My recent photography class forced me into a much needed and long overdue project. I’ve been revisiting 4 years of photographs; separating the wheat from the chaff, adding categories, creating portfolio collections and generally getting my act together.

 

It’s taken me the better part of 6 weeks, but I’ve cut the number of images on my computer by more than half - from a little over 16,000 to an almost manageable 7,000. In the process, I learned two valuable lessons. The first is that I obviously take and keep a lot of photographic chaff. The second is that I should have started using Adobe Lightroom the moment it became available. It does exactly what I’ve been trying to get Adobe Bridge to do for years. And it’s not just the organizational capabilities I’m sold on. I can think of only 3 or 4 images that I’ve edited in Photoshop since purchasing Lightroom in December. I find that Lightroom is simply faster, easier, and has a more logical workflow for photographers.

  

 

If you learn one thing in Lightroom, I recommend it be the use of smart collections. You start by defining a set of criteria for the photos you want to appear in the collection. This can be pretty much anything. For example, I’m using multiple keywords and a rating (number of stars) for most of my collections. Once they are set up, these collections take care of themselves and relevant images are automatically added. Any time I need to submit my best images for a class or contest, I know exactly where to find them. If I want to add new images but keep a set number in the collection – my top 10, for example – I’ll simply reduce the rating on images that don’t make the cut and they drop out of the collection. I can also change the criteria of the collection any time and watch it automatically update.

 

It’s unfortunately rare that a software package delivers on exactly what it says on the box. I’m happy to say that, for me, Lightroom delivers.

Papa Has a Brand New Bag

After 4 years with my old bag (yes, a ton of jokes in there) I knew exactly what I needed in a new one. My gear should obviously fit and be easily accessible, I had to be comfortable carrying it on long hikes, and it would need to double as a carry-on and work bag for international trips.

After much research, I ordered a Tamrac Expedition 7x. I’m happy to say the early verdict is a definite ‘two thumbs up’.

Here’s what I like:

The main compartment is big enough to hold every piece of photography gear I need for most trips. The foam dividers can be arranged and rearranged as necessary, and it seems they will stay where I put them. In fact, the whole bag feels solidly built.

My camera is easily accessible from the top opening. I can also keep just about any lens on the camera while in the bag (well, any lens I can afford at least)

Other pockets inside the main compartment let me organize filters and the other bits and pieces that I always had to dig around for in my old bag.

The computer pocket is plenty big enough and on the front of the bag. That means I won’t be messing up my photo gear or putting it on full display when I’m traveling.

The pockets on the outside of the bag are perfect for spare cards, batteries, shutter release cable, pens, and other bits and pieces. There is even a system for marking used cards and batteries. I’m not sure I’ll need that, but at least I know it’s there.

This one is big. Tamrac has figured out that a photographer needing a pack like this will probably want to carry and use a tripod on some serious hikes. The tripod clips to the center of the bag, is easy to get on and off, and stays nicely balanced. Imagine that! The folks who design tripod straps on the side of their packs have obviously never hiked much farther than the office vending machine.

The straps and waist belt are wide, padded and comfortable. I haven’t carried for more than a couple of hours yet, but I can see me lasting a full day with no trouble.

And finally, it matches my favorite outdoor jacket.

So, there you go; a place for everything and everything in its place. That alone will make me a better photographer. If I have the stuff with me and it’s easy to find, I’ll use it. Much as it pains me to admit this; digging around for filters or flash meant I was frequently tempted to try the shot without them – often with disappointing results.

Yes, Papa does indeed have a brand new bag, and he’s pretty darned pleased with it.