the photoshooter's journey from taking to making

THE “EITHER/ORs”

By MICHAEL PERKINS

CAMERAS CAN EITHER TAKE CHOICE AWAY OR CHALLENGE YOU TO MASTER IT. If you’re a regular reader of this comic strip, you know all too well that I advocate making images with all manual settings rather than relying on automodes that can only come in a distant second to the human process of decision-making. People take better pictures with a camera than a camera can take alone. Can I get an Amen?

There is, of course, one choice you don’t get to make for any picture you create. You can’t mark a box called “the choice I made guarantees that everything in the image will work out.” Worse, there is always more than one choice being made in the creation of a photograph, and, even if you’re well-practiced and fast, you can’t make all of them perfectly. Choose one option and you are “un-choosing” another. The sum of the effect of all your choices together is what determines the final picture. That’s real work, and it certainly accounts for many people’s preference for automodes, since they obviate all those tough calls.

1/60 sec., f/3.5, ISO 640, 35mm.

1/60 sec., f/3.5, ISO 640, 35mm.

Nothing will force you to choose lots of options in short order like taking pictures of children at play. The image posted here, taken at a kindergarten playdate, shows a number of fast decisions that may or may not add up to an appealing picture, as lots of things are going on all at once. In the room where this was shot, space was tight, action was swift, white balances were wildly different in various zones within the room, and posing the kids in any way was absolutely impossible, due to their tender age and the fact that I wanted to be as invisible as possible, the better to catch their natural flow. To get pictures under this particular set of conditions, I had to decide how best to frame children who were grouping and ungrouping rapidly, where to get a fairly accurate register of color, customize my shutter speed and ISO with nearly every shot, and, as you see here, make my peace with whether the action implied in the shot outweighed the need for super sharpness.

You simply get into situations with some shots where you are not going to get everything you’d like to have, and you make decisions in the moment based on what each individual image seems to be “about”. Here I went for the joy, the bonding, the surging energy of the girls and let everything else take a back seat. Faced with the same situation seconds later, I might have remixed the elements to create a completely different result, but that is both the thrill and the bane of manual shooting. Automodes guarantee that you will get some kind of image, a very safe, if average, picture that allows you to worry less and possibly enjoy being in the moment to a greater degree….but you are the only factor than can take the photo to another level, to, in fact, take full responsibility for the result. It’s like the difference between taking a picture of Niagara Falls from your hotel room and taking it from a tightrope stretched across the raging waters.

And, ah, that difference is everything.

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2 responses

  1. This information is worth everyone’s attention. How
    can I find out more?

    September 24, 2014 at 10:23 PM

    • There are more and more articles and resources everyday that touch on how to take greater control of your picture-making, and I love to recommend the best sources as I learn about them. One great book is Jennifer Beeb’s BEYOND AUTOMODE from last year. She is a professional photographer who has written a fabulous and plain-spoken tutorial on how to gradually take your photography further by becoming more comfortable with manual shooting and generally understanding the basics of exposure a whole lot better. It’s really a great book and goes hand in glove with the philosophy I preach here on THE NORMAL EYE. Thanks for visiting and come back often!

      September 25, 2014 at 12:36 AM

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